horror movie review – Horror Ghouls

Pulgasari (1985)

Posted on January 9, 2026 by HorrorGhouls

“The Story Behind This Movie is Crazy!”

Once upon a time in North Korea there was this dictator, Kim Jong Il, mostly known for being the blueprint archetype for the evil final boss in a Far Cry game. Big boss Kim was also a huge movie buff, a true cinemaphile who owned up to 20,000 films. Rambo, Raiders of the Lost Arc, Friday the 13th, and, of course, kaiju movies like Godzilla, were some of his favorite films. But when it came to North Korean films, there wasn’t much to be impressed by, as they all were mostly boring duds made for propaganda.

Then there was this famous South Korean film director, Sang-ok Shin, “The Prince of Korean Films“ as he was called. And Kim had an eye for him. This was his Steven Spielberg, so to speak. So, in order to produce some more profitable movies in North Korea, big boss Kim took the easy way to get Shin kidnapped to be hold in “house arrest” (just to put it nicely) in North Korea where he was forced to make movies. Plain and simple. This was between 1978 and 1986 after he managed to escape to the US.

If this alone sounds totally bananas, this is just the tip of the iceberg of this absurd saga. So, here’s a complicated story, which could have been an insane movie by itself, cut simple: it all started with a kidnapping in Hong Kong, not by Shin, but by the actress Choi Eun-Hee. The year was 1978 and the actress was the ex-wife of Sang-ok Shin and the favorite actress of big boss Kim. When Shin flew to Hong Kong to search for her, he got assaulted by some agents under the orders of, guess who, the big boss Kim, who brought him back to Mordor, I mean North Korea. The cinemaphile that Kim was, opened a brand new movie studio with 700 employees/slaves where Shin was forced to make films. Several starred his ex-wife. Yes, she was alive. The films weren’t seen by anyone, maybe expect for some few lucky people in the country that were actually allowed to. Most people didn’t even knew what a movie theater was. And that didn’t put any cash in Kim’s pockets. Showbiz is tough, even in North Korea. What a shocker. So now what?

Then 1984 came with The Return of Godzilla, which became a smash success in Japan. Big boss Kim saw the movie and said to Shin while sitting with his high heels and eating chocolate pudding: I also want one! Now! Alright, then. Here’s Pulgasari for you, an absurd, goofy Godzilla-clone ordered straight from Temu (even before Temu). Happy now, big boss Kim? Can I and my ex-wife go home now? Please? This was a big international co-production with China and Japan and was meant to be the big magnum opus for North Korean cinema. Toho Studio was actually involved here. Yes, in Mordor, I mean North Korea. Must have been some blackmailing going on here, ’cause that the film was made and finished under its bat-shit crazy circumstances is a miracle by itself.

The plot for Pulgasari goes like this: We’re somewhere in the 1300s North Korea where the peasants and farm people are living under tyranny by an evil king. No shit. The time period could as well be set in 1985, even in the present day of 2026, and there wouldn’t be much difference. The evil king forces a small village to hand over all of their metal so he can make weapons. As the blacksmith, Takse, refuses to forge the weapons for the king, he gets shoved into a muddy prison cage to die of starvation. His daughter Ami tosses some rise into his cage, and here it’s when it gets interesting: instead of eating the rise, he mixes it with mud and makes a kaiju action figure out of it. After Takse dies, his daughter takes the figure, sticks a needle in her finger and drops her blood on it, and it then comes to life. She names it Pulgasari. And Pulgasari is a sight to behold. The creature grows from a cute n’ cuddly goofy-looking puppet, to Bowser from Super Mario Bros, just without the shell, and the red hair.

Pulgasari’s favorite food is metal. And the more he eats, the bigger he gets. The peasants now have a perfect weapon to fight against the evil king and his empire. And the most ironic thing here is that this is actually an uplifting story about fighting against tyranny — in the forbidden country of North Korea, while at the same time being produced by a tyrant. Bruh… Ami, who basically gave birth to the monster, also gets held hostage by the king, which gives Pulgasari a bigger motivation to destroy the evil empire.

So what we basically have is a messy, clunky, chaotic and tone-deaf circus show with lots of crazy things going on, where I’d also guess that the safety standards were nonexistent. Around 10,000 soldiers were used as extras here who risked their lives as they got attacked by dozens of rolling fireballs. 3.5 million people in North Korea died of starvation a few years after big boss Kim produced his masterpiece, so I would assume that he is just maybe the kind of guy who couldn’t give a fuck less if some actors got seriously hurt or killed during the filming. Roll camera, hope for the best and rest in piece in advance, just in case.

The film isn’t completely hopeless though. The Japanese company Toho was as mentioned involved, which also made the rubber costume of Pulgasari. Inside the costume was Kenpachirô Satsuma, a veteran known for being Godzilla in a laundry list of movies. Pulgasari has lots of screentime where he spits fireballs and destroys miniature buildings. The classic stuff. And if you expect the film to land on a more conventional ending, well — SPOILER WARNING — After Pulgasari saves Ami and wipes off the tyranny, they don’t know what to do with him. He doesn’t get any smaller, and metal is his only food. So… looks like someone just has to euthanize the poor thing before he becomes a serious new threat. The solution? Ami hides in a bell where she waits for Pulgasari to eat her. After doing so, he have the oh shit, what did I just do?-look on his face before quickly imploding and falling apart into dust. But there is actually one more little special and magical moment after that which I won’t spoil.

The aftermath of the whole epic spectacle is a chapter in itself, but there is actually a positive ending here. Shin Sang-ok and his ex-wife got remarried after a suggestion from big boss Kim himself. Then came the time to sell Pulgasari to the world. Yes, outside of North Korea. And during a film festival in Vienna, Shin and his wife finally managed to escape and seek asylum in the US where he made some low-budget ninja films under the pseudonym of Simon S. Sheen. In 1996, he was the executive producer on Galgameth, an American fantasy film for kids, based on Pulgasari. Big boss Kim, on the other hand, was pissed. So pissed that he buried all of Shin’s movies, including Pulgasari, even though he called it a masterpiece. However, the film somehow survived, and in 1996 it was put on the silver screen for the first time in Tokyo, where it was a success that even outperformed the American remake of Godzilla (1998). Pulgasari wasn’t as lucky in South Korea where it sold under 10,000 tickets. Some other sources say that Kim Junior, the son of big boss Kim, is a big fan of of the film and tried to sell the film internationally himself at one time, which went nowhere.

And all that said, it comes at no surprise that there’s no official release of the film. The only thing to grab it on are DVD-bootlegs. It’s not exactly in HD, but still looks better than the AI filter version that’s available on YouTube.

Director: Shin Sang-ok
Writer: Se Ryun Kim
Country & year: North Korea/Japan/China, 1985
Actors: Son Hui Chang, Ham Gi Sop, Jong-uk Ri, Gwon Ri, Gyong-ae Yu, Hye-chol Ro, Sang-hun Tae, Gi-chon Kim, In-chol Ri and about 10.000 of involuntary extras
IMDb: https://www.imdb.com/title/tt0089851/

Eyes Without a Face (1960)

Posted on January 6, 2026January 6, 2026 by HorrorGhouls

Outside of Paris, a woman is driving with a mysterious passenger in the backseat. When she stops near the river, we see that the mysterious passenger is actually a dead person whom the woman dumps there. Later, when the body has been found, it is believed to be Christiane, the missing daughter of Dr. Génessier. He is called in to identify the body, and claims that it is indeed his daughter. Which is nothing but a big, fat lie, as his daughter is very much alive and lives in isolation at his mansion which also lies next to his private clinic. She is always wearing a face-like mask, as she was severely disfigured after a car crash which was her father’s fault. Dr. Génessier is mainly driven by guilt as the reason for trying to restore his daughter’s face by removing the skin from other young women, hoping to graft it into her face. It has always been a failure, though, and the woman dumped in the river was his latest victim which was disposed of by his faithful assistant Louise. Louise must now find a new victim for the next experiment, and ends up choosing a young woman named Edna Grüber, who is lured to the mansion under the offer of a cheap room for rent. Maybe the experiment will be successful this time…

Eyes Without a Face (French title: Les yeux sans visage) is a French horror film from 1960, directed by Georges Franju. It is based on a 1959 novel by Jean Redond, and he also co-wrote the screenplay. It was also a co-production between France (Champs-Élysées Productions) and Italy (Lux Films). It was shot in Paris and the suburbs surrounding the city, and some scenes were shot at Boulogne Studios. When making it, the censors were a big concern, so they tried to tone it down in the ways possible to appease everyone: not including a lot of blood which would have upset the French censors, not showing animal torture which would have made the English censors throw a hissy fit, and leave out any typical “mad scientist“ elements which apparently would have pissed off the German censors. And it passed through the European censors and premiered in Paris on 2nd March 1960, but it still caused quite a stir. People really reacted at that heterografting scene where a woman gets the skin of her face removed, and when the film was showed at the 1960 Edinburgh Film Festival, seven audience members fainted to which the director simply responded “Now I know why Scotsmen wear skirts“…

In the US, the movie was edited, dubbed, and renamed into The Horror Chamber of Dr. Faustus and released in 1962. Parts of the heterografting scene was removed amongst several other scenes, and had a very limited run and little attention. Eyes Without a Face was not received well upon its release, but is today considered one of the most influential horror films of all time. John Carpenter has also mentioned that the featureless mask of Michael Myers was inspired by the film.

It is kind of a slow one, but without a doubt very atmospheric, much enhanced by the moody black and white shots. Christiane’s mask is perfectly eerie in its lifelessness, and there is a gradual buildup of mystery over how her face actually looks as she’s either wearing the mask, or having her face turned away from the viewer. Her father, while not coming off as too “mad doctor“-ish, still pulls off a character without any scruples when it comes to restoring his daughter’s face. Instead of having the typical madman who is obsessed because of some scientific experiment just for the sake of ego and science, we have a man who does everything out of guilt, inadvertently doing even more horrible things than the one he’s trying to correct. The characters here aren’t really villains, just tragic people.

Like mentioned the movie is mostly moody and atmospheric, but the tone of the film sometimes becomes really strange when it’s often playing a carnival-esque waltz (Générique) as the soundtrack for multiple scenes. It’s used over and over, in all kinds of scenes, and actually gave me a little bit of a chuckle at times…but the eerie carnival waltz works well when imagining the downward spiral of madness awaiting Christiane. And, speaking of: while you do of course feel sorry for Christiane and what happened to her, it becomes a bit irksome how she spends every breathing moment feeling sorry for herself. Yes, we’re supposed to feel a great bit of sympathy for her and the situation she’s in, but she’s living in a friggin’ mansion, having everything she needs. It’s not like she doesn’t have at least a chance of trying to cope with her life in the way it turned out. She could’ve learned a thing or two from Sal Fisher in that department. Also, her character does lose a bit of sympathy from me since it becomes obvious early on that she knows what her father is doing, which the desire for a new face isn’t going to justify. Sure, she’s getting some kind of redemption arc when the guilt gets the best of her…but still…

Of course, one of the highlights of the film is that scene, the one that made people faint and the US version getting a cut. I’m of course talking about the face removal scene. And yeah, of course it isn’t nearly as graphic as what you can see in some movies these days, but I really understand why some people found it to be a tough watch back in 1960. It’s probably much to do with the black and white, and it looks for the most part quite realistic. Maybe a small, early foretaste of the French Extremity films that were to come much later.

Overall, Eyes Without a Face is an interesting film to watch, where it’s easy to see how it would influence a lot of creative minds later on. Well worth a watch!

Director: Georges Franju
Writers: Pierre Boileau, Thomas Narcejac, Jean Redon, Claude Sautet, Pierre Gascar
Original title: Les yeux sans visage
Country & year: France/Italy, 1960
Actors: Pierre Brasseur, Alida Valli, Juliette Mayniel, Alexandre Rignault, Béatrice Altariba, Charles Blavette, Edith Scob, Claude Brasseur, Michel Etcheverry
IMDb: www.imdb.com/title/tt0053459/

The Vourdalak (2023)

Posted on December 30, 2025 by HorrorGhouls

We are in the 18th century, somewhere in Eastern Europe. Jacques Saturnin du Antoine is a French Marquis who is wandering through the woods after having lost his horse and companions after a robbery. He tries to seek shelter at the first house he sees, but the man there advises him that he should go to the house of a man named Gorcha. When arriving there, he finds that this man has left in order to fight and exact revenge upon the Turks. His family recounts that after leaving, he made it very clear that if he does not return within six days, it would be because he’d died fighting. And if he would, indeed, return after those six days has passed, they should not under any circumstances let him in, as he would then have become a “vourdalak“. Gorcha’s son, Jegor, scoffs of such superstition and is eagerly awaiting his father’s return, making Jacques having to wait until the next day before he can get him a horse. In the meantime, Jacques very soon finds himself seduced by Gorcha’s unmarried daughter Sdenka.

Then, later that evening, six days have now passed since Gorcha left. And that’s when he is suddenly spotted lying like a mummified corpse at the edge of the forest. For all means and purposes, he literally looks like the dead husk of a man…but then he starts speaking after being placed at the dinner table. He throws the severed head of the Turks’ leader on the table, telling everyone that he finally murdered him and was able to fulfill his quest. Alright, all’s good and well then, right? Let’s enjoy some food and celebrate! Except…Jacques, of course, sits by the table in both shock and horror. This thing that is Gorcha, head of this family, looks like a living corpse, and Jegor seems to be the only one who can’t see how messed up it all is. Even the dog can’t stop barking (ensuing the poor doggie’s fate, of course). As if the appearance of Gorcha wasn’t terrifying enough, the incidents of the night and following day makes it evident that they should have heeded Gorcha’s warnings before he left.

The Vourdalak (original title: Le Vourdalak) is a French drama-horror film from 2023, shot on Super 16mm, directed by Adrien Beau in his feature film debut. It was co-written with Hadrien Bouvier, and based on an 1830 novella called The Family of the Vourdalak by Aleksey Konstantinovich Tolstoy. The movie explores some less traditional vampire lore, specifically that of the creatures called “Vourdalaks“, which are very alike vampires in many ways but differs in how it chooses its victims. While the traditional vampires would target anyone they could get their fangs on, the Vourdalak only preyed upon the people it once loved and cared for. It that sense, I think it makes the Vourdalak even more terrifying than the regular vampire…

Now, let’s talk a little about the actual Vourdalak in this movie…and I seriously was not prepared for this, but it’s actually a life-sized puppet. Yes, a puppet…not an actor in make-up or CGI, but a good old-fashioned puppet. It was so incredibly odd and fascinating to watch, so clearly not alive yet so incredibly animated and lively, being almost mockingly jolly despite its gaunt hideousness. And I totally loved it! There’s such a creepy-cute ghoulishness to it, and of course no ghoul at heart can resist such a thing. We both laughed at and admired its quirkiness!

There is a certain fantasy-nightmare-vibe throughout the movie, where our noble Frenchman wanders around a misty and gloomy forest and an even more gloomy and dark house. His character is a bit of an oddball too, reminding me a little bit of Ichabod Crane. He’s really not in his right element here, where the family of Gorcha are all hard-working peasants toiling away all day, whereas he is all dolled up and looks like he’s not good for much else than powdering his face and doing a dance. Oh, and just like in any of those “people are killed left and right and the heroine is being chased by a monster, but her makeup always stays flawless“ kind of movies, Jacques is certainly fitting well into this trope! His makeup stays fine all the time like he’s got the best setting spray ever. Now, if that sounds wonderful to you, just keep in mind that the cosmetics the French aristocracy used in the 17th and 18th century in order to achieve the pale complexion was one of the most historically dangerous, where common toxic ingredients included mercury and lead…makes your skin itch just thinking about it. Poor Jacques was not only in danger from a vampiric creature, but also from his powder box.

The movie does have a lot of atmosphere, and never ceases to have some kind of beauty hidden within each frame of dark melancholy. The 16mm also helps on giving the film the slightly grainy, gauzy look, perfectly enhancing the mood. Overall, The Vourdalak is a vampire folk horror movie with a different set of fangs, but no less of a bite. The puppetry and practical effects gives the movie an odd and old-fashioned flair which suits the tone so well.

The Vourdalak is available on several streaming sites, and on Blu-Ray and DVD from Oscilloscope Laboratories.

Director: Adrien Beau
Writers: Adrien Beau, Hadrien Bouvier
Original title: Le Vourdalak
Country & year: France, 2023
Actors: Kacey Mottet Klein, Ariane Labed, Grégoire Colin, Vassili Schneider, Claire Duburcq, Gabriel Pavie, Erwan Ribard, Adrien Beau
IMDb: www.imdb.com/title/tt28313478/

Moon Garden (2022)

Posted on December 26, 2025 by HorrorGhouls

Emma is a little girl who lives with her parents, who are always arguing. Her mother tries to sneak Emma out of the house during the night, but their father stops them before leaving. Emma gets so distraught over their constant fighting, that she runs away and falls down the stairs. Luckily she doesn’t die from the fall, but she ends up in a coma and is trapped in a strange world. She can her hear mother speaking and singing to her in the hospital bed, and sometimes experience memories and the odd crossover moments, but she can’t find out how to wake up. Traveling through a surrealistic steampunk world she encounters both friends and foes, and is chased by a creature simply called Teeth, who feeds on her tears and seems to be hellbent on stopping her from leaving.

Moon Garden is a dark fantasy horror film from 2022, written and directed by Ryan Stevens Harris. It stars his young daughter Haven Lee Harris as Emma. And from the very early start of the movie, it’s easy to see that this is very much a passion project, filled with so much creativity and whimsical playfulness in what is obviously an allegorical take on childhood trauma. And holy moley, is this movie filled to the absolute brim with awesome practical effects, sometimes reminding me a bit of Phil Tippet’s Mad God and the dark fantasy vibes of Guillermo del Toro’s Pan’s Labyrinth. There’s so much creativity here, from the elaborate set designs, makeup effects, monster prosthetics and so on. There’s a mix of miniature usage, puppetry, and stop motion. CGI has been avoided to give the movie a better vintage-looking feel, and to be honest, if I hadn’t known beforehand that this is a movie from 2022, I wouldn’t have doubted even for a second if someone told me that it was a movie from the ’80’s. It was also intentionally shot on some old expired 35mm film which enhances the retro feel to the maximum. Visually, and creatively, I totally fell in love with it!

While the horror elements are somewhat subdued, as the movie relies more on the Alice in Wonderland-esque strangeness of a surreal world, they are quite effective when they first appear. It’s not just a fanciful adventure for the little girl, she does encounter some terrifying creatures and experiences. Emma (played by Haven Lee Harris, the director’s daughter) gives a surprisingly solid performance where I honestly wondered if she were genuinely terrified at times. Or at least a bit pissed about what her father was putting her through…there are a few scenes where she’s having this defiant bottom-lip pout expression, almost like she’s silently telling her father “you owe me a pony after this!“, but overall I think she looks back on the whole experience as a really fun one, though, as it also looked like she was having the time of her life.

While the movie includes many strange characters and creatures, my favorite by far is Teeth, the villain who tries to stop Emma from leaving and also feeds on her tears. Wearing a tophat and a long black coat, his face is nothing but a black hole in which he’s got a set of constantly clacking teeth (hence the name). Just like the wind-up teeth toys, just done in a horror fashion. He’s both a creative villain and also a nightmarish one, perfect in a dark fantasy film.

Moon Garden is a surreal, heartfelt and utterly strange and visual treat for those who love something a bit different. While I can’t say I have seen something very similar to this movie, I did get a little bit of the same vibe as from Mad God (2021) and Pan’s Labyrinth (2006) as I earlier mentioned, but I could also feel a little bit of a Paperhouse (1988) flavor here, and of course many of the Alice in Wonderland adaptations. The movie is a beautiful surrealistic experience, one that requires a certain taste for the fever-dreamish vibe of the more fantasy-themed arthouse films.

Moon Garden is available on Blu-Ray and DVD from Oscilloscope Laboratories, and is available on several streaming sites, including Tubi.

Writer and director: Ryan Stevens Harris
Country & year: USA, 2022
Actors: Augie Duke, Brionne Davis, Haven Lee Harris, Morgana Ignis, Maria Olsen, Timothy Lee DePriest, Phillip E. Walker, Angelica Ulloa, Téa Mckay, Joel Pelletier, Wolfgang Meyer
IMDb: https://www.imdb.com/title/tt18561446/

Blood Tracks (1985)

Posted on December 16, 2025December 16, 2025 by HorrorGhouls

Hairmetal, blood, freezing titties, avalanche in the snowy hills that have eyes, and a dude that looks like George Lucas. Here we go!

This obscure little odd The Hills Have Eyes ripoff from söta bror Sweden starts off with some mean drunk guy who, one late night, comes home to beat his wife and four kids. And this is not the first time as the wife finally has had enough and stabs him to death with a kitchen knife. The wife takes the kids with her as they run away into the thick ’80s movie fog.

Then we jump to forty years later in the year of 1985 where a random narrator says: For the next 40 years, the family hid out in the middle of nowhere. Now, intruders are on their way. Uuhm…ok. We’re at the snowy mountains in Sweden where the glam rock band, Solid Gold, are about to shoot some scenes for a music video. And what’s the title of this song? Take a guess.

― ♪ The horror you fear, You can’t let it go, It’s already there, You’re all much too slow, BLOOD TRAAACKS..! ♫

And if a hair metal band with stagefright could cause an avalanche, I’d bet that Motörhead would cause Mount Everest to collapse like a house of cards. And as the title suggests, there are no blood tracks to be seen here, at least not in the snow. A couple who has some sex in a volvo gets snowed in. The woman eventually gets pulled out, buck naked. Brrr! I’m gonna freeze my tits off! So, now that the scenes have been wrapped up, what’s next? The band, roadcrew and the groupies take shelter in a cabin. The soundguy from the filmcrew goes for an exploration where he enters a big abandoned factory. And in that place lives the mother and the group of children we saw at the beginning, who’s ready to kill anyone who dares to enter. The mother hasn’t aged a day during the four decades though. She must have some great genes, like a certain Sweeney. Couldn’t say the same thing about some of her kids, who looks like pizza-faced mutants from Tromaville. As the soundguy goes missing, the rest of the crew starts looking for him, which eventually leads them, one by one, into the factory to be bodycounted. So there you have it. A dumb premise for a dumb formulaic slasher which we have seen a thousand times already, even in 1985. But fun dumb, at that.

Blood Tracks, or Blodspår, is written and directed by Mats Helge Olsson, Sweden’s answer to Claudio Fragasso/Bruno Mattei, if you will ― the same guy who made The Ninja Mission (1984), Russian Terminator (1989) aka The Russian Ninja and Spökligan (1987), a very early childhood favorite of mine. And just like some of his other films, this one is dubbed to English by some wooden legs. It’s not as fun/bad as some of the films mentioned, but you’ll have your chuckles.

Solid Gold is played by the Swedish band Easy Action, and if you expect them to be the heroes, last boys standing cuz you can’t kill rock n’ roll, you’d be disappointed. The band members are barely acting here though. They’re mostly shoved in the background where they get drunk on whisky as alcohol was a demand to have on set because of nervousness… or because that’s just rock n’ roll, baby! Some of them were lucky enough to shoot some quick sex scenes, where I wouldn’t be too surprised if they were so wasted and coked-up that they, at some point, thought they were in a porn film. Nu ska vi knulla! Oh, well. The little we hear of the themesong could be a catchy fat ’80s earworm which was never fully recorded to be released to one of the albums, like Dokken’s Dream Warriors or Alice Cooper’s The Man Behind the Mask, since they seem to be more ashamed to be a part of this film. Boohoo…

And yeah, we have some fun kills here, which includes a severed head, bodies impaled on spikes, a bitten-out eyeball, death by fire, a woman getting sliced in half, some cheesy bear-hugging wrestling fights, and more. Fun fluffy drunk ’80s schlock from start to finish. And of course, then we have the bizarre George Lucas-lookalike, as if he was still location scouting for the Hoth scenes. Wrong country, bud. Blood Tracks is available on Blu-ray from Vinegar Syndrome/DiabolikDVD. Even though I don’t have a copy, as for now, it’s fair to mention that there have been some angry complaints about the audio on that release, so… just be aware. And if you follow the right blood tracks on Tubi, you may also be lucky.

Director: Mats Helge Olsson
Writers: Mats Helge Olsson, Anna Wolf
Country & year: Sweden/UK, 1985
Actors: Jeff Harding, Michael Fitzpatrick, Naomi Kaneda, Brad Powell, Peter Merrill, Harriet Robinson, Tina Shaw, Frances Kelly, Karina Lee, Helena Jacks
IMDb: https://www.imdb.com/title/tt0088827/

The Believers (1987)

Posted on December 12, 2025 by HorrorGhouls

We start off with some strange voodoo ritual of some kind, where a couple seems to be participating in a ritual involving their son. What the purpose of this ritual is remains to be discovered, as we quickly go further ahead in time, where we meet Cal Jamison. He is a psychologist who seems to live a perfect and happy life together with his wife Lisa and their young son Chris. Until he and their son both witness her gruesome death by an everyday object, Final Destination-style. After this traumatizing incident, he relocates with his son to New York City where he starts working as a police psychologist. And he quickly gets busy with work, as the city has been plagued by what appears to be some occult and ritualistic murders, involving the deaths of young children. A policeman named Tom Lopez is in total hysteria mode when he claims that the ones behind the murders has gotten their hands on his badge, a personal item which he thinks might give them power over him and make terrible things happen.Cal is, of course, called to examine the superstitious and terrified policeman, but he soon finds out that there really is some nasty occult shit happening around here by some kind of Hispanic cult. And what’s worse…it’s all getting way too close to both him and his son.

The Believers is a neo-noir thriller horror film directed by John Schlesinger with screenplay by Mark Frost. It is based on a novel by Nicholas Conde from 1982, called The Religion.

Even though Hollywood seemed to have lost interest in Satanic-themed horror movies after the 70’s (which gave hits like The Exorcist and The Omen), there was still the Satanic Panic in full bloom where people literally thought there were ritualistic murders and abuse all over the place. While this movie does not portray the hysteria over those conspiracies of Satanic ritual abuse, it’s still a movie that came at a time when these (unfounded) fears were the real shit. And just mix it in with some kind of Caribbean voodoo religion instead, and with the classic message of how wealthy “yuppies“ would be willing to call upon dark forces in order to achieve even more wealth, then you have a typical occult film about sacrifices and evil people committing to evil gods.

Already from the get-go, you realize that this isn’t going to be one of those easy happy-going movies. The opening with Lisa’s death comes quite unexpected, with what was initially such a feelgood happy moment. I was wondering if this was something the movie would pull off more often, lulling you into a sense of peace while whamming you with some unexpected death or horrific event. And to be honest, while nothing similar happens later on, the movie does manage to surprise you a little bit with some of the upcoming events. There’s several characters that we are getting introduced to, which keeps us guessing as to what their intentions are. The power this cult seems to have over everyone carries a little bit of the “curse“ formula in horror movies, where once you’ve been touched by it, you’re doomed. And they don’t need much in order to make you suffer, it’s enough for them to get their hands on a personal items of yours, and you’ll suddenly be having snakes slithering around in your guts. Yes, literally. While this movie is by no means any kind of bloody gorefest, there are some nasty scenes here and there. My favorite is the one that involves a hexed makeup powder puff. Ugh!

There is a bit of slow pacing here and there, but nothing serious as it quickly picks it up again. Some of the drama between father and son does come off as a little bit much at times and I didn’t really care much for it, but that’s just my opinion. Overall the movie manages to keep you engaged throughout, despite a runtime of nearly two hours. And one thing I really liked was how the movie often used shots from obvious lower class suburban areas, giving it a more realistic feel in regards to how one could imagine a Santeria cult operating in the outskirts.

The Believers could have been much more gritty and dark than it is, and it often appeared that it wished to be without really hitting that mark. Still, it’s an entertaining supernatural thriller, which fits well in with the Satanic Panic of the 80’s.

Fun fact: the film influenced the “Narcosatanist“ cult leader Adolfo Constanzo (Adolfo de Jesús Constanzo) who ran a drug-smuggling cult in Mexico that practiced human sacrifice. Apparently, the movie was used to indoctrinate new followers.

Director: John Schlesinger
Writer: Mark Frost
Country & year: USA, 1987
Actors: Martin Sheen, Helen Shaver, Harley Cross, Robert Loggia, Elizabeth Wilson, Harris Yulin, Lee Richardson, Richard Masur, Carla Pinza, Jimmy Smits, Raúl Dávila, Malick Bowens
IMDb: www.imdb.com/title/tt0092632/

We Are Still Here (2015)

Posted on December 9, 2025 by HorrorGhouls

The year is 1979, and Anne and Paul Sacchetti are grieving their deceased son Bobby who died in a car crash. They have decided to start afresh by moving to a new home in rural New England, and while Anne seems to be in a near catatonic state on the way to their new place, Paul hopes that her spiraling into a deep depression might lift with some new scenery and a new house. Well…her spirits are in fact quickly uplifted once they get to their new home, but not for the reasons Paul had hoped. Anne claims that Bobby’s presence can be felt in the house, and this eases her grief a bit. After barely having settled in, they also get a visit from two elderly neighbors who comes inside and immediately tells them about the house’s sinister past. It used to be a funeral home, run by the Dagmar family until it was discovered that they had been swindling their customers by selling the corpses of their deceased family members and burying empty caskets. Then, as the elderly couple are about to leave, the man tells them how good it is that they’re here, and how the house “needs a new family“. And upon leaving, the woman gives them a note where she warns them by having written “get out“ in big capital letters. Hmm…a little mixed messaging here, for sure.

Anyway, Anne doesn’t really give a shit about any of the things that happened in the house earlier, her only focus is on her dearest son Bobby. She’s convinced that he’s there, and she invites her friends May and Jacob who are both spiritualists. Paul scoffs at the entire thing, but promises to keep an open mind for her sake. And then…things go bad. And it appears it’s not only the house that carries secrets around here.

We Are Still Here is a supernatural horror film from 2015, written and directed by Ted Geoghegan. He began working on the film as some kind of tribute to The House by the Cemetery (1981) by Lucio Fulci. He had also previously worked with Andreas Schnaas on some of his various low-budget schlocky gore movies as both writer and producer, but We Are Still Here is his directorial debut. After completing the script, Dark Sky Films and Snowfort Pictures agreed to produce it. The filming took place on February 7th, 2014, in Rochester New York where they used the villages of Palmyra and Shortsville.

And yes, I can see how Geoghegan had a Lucio Fulci vibe in mind here, where it’s got the blood and gore (not the maggots though), the isolated house, someone troubled and grieving, the clairvoyant character, a town with secrets, mixed with some Lovecraftian ideas. And yes, there’s more than enough easter eggs to behold here: first of all, the Sacchetti couple is most likely a reference to the screenwriter Dardano Sachetti who worked a lot with Lucio Fulci. Then we have the name of the town, Aylesbury, which is a reference to Lovecraft’s The Dunwich Horror. The Miskatonic River is also mentioned during the credits.

While the movie does play into several of the typical haunted house tropes, it’s still a solid experience which balances an intriguing plot and a sinister atmosphere throughout. Some scenes manage to be a little creepy, despite never really going into full-on scares but more leaning towards a creeping notion of something sinister at play. I love the retro style of it, and enjoyed the homages. This is not merely a haunted house/ghost story, it’s playing it a lot darker and venturing into a bit of folk horror as well. And when we get to the ending, and the climax itself, then whoa…! It’s like his old buddy Andreas Schnaas jumped onboard and demanded mehr Blut und mehr Tod!, as we get a crazy, bloody gorefest! It’s vicious and cruel, and a delight to behold which gives the movie a nice little pang of an ending.

We Are Still Here is a pretty nice retro haunted house flick set in the cold winter time, perfect to watch now that the weather is cold and it’s good to stay inside, preferably with a cup of warm cocoa and a horror movie on display.

Writer and director: Ted Geoghegan
Country & year: USA, 2015
Actors: Andrew Sensenig, Barbara Crampton, Larry Fessenden, Lisa Marie, Monte Markham, Susan Gibney, Michael Patrick Nicholson, Kelsea Dakota, Guy Gan, Elissa Dowling, Zorah Burress
IMDb: https://www.imdb.com/title/tt3520418/

Dreamcatcher (2003)

Posted on December 5, 2025 by HorrorGhouls

Jonesy, Beaver, Pete and Henry are four men who have been sticking together ever since childhood. Their bond got even closer on the day they met a disabled boy named Douglas, or “Duddits“. They save him from a bunch of bullies, and Duddits rewards them by giving them all telepathic powers. A group of childhood friends sticking together after experiencing something during their childhood…yup, it’s a Stephen King story. As the four friends are going through their seemingly normal adult lives, using their powers when they can, things almost go really bad for Jonesy after seeing Duddits beckoning him from across the street. When Jonesy approaches him he gets hit by a car, but still manages to heal incredibly fast. Six months later, they all go on their annual hunting trip in Maine during the winter season.

This trip will become very different from the others, though, and shit (literally) start happening once Jonesy rescues a man named Rick McCarthy who had gotten lost in the forest. Rick seems…a bit off, though. Sickly and constantly burping and farting. Yay. Jonesy and Beaver makes him lie down in bed so he can recover, and later notices a flock of forest animals outside the cabin. Foxes, wolves, rabbits, deer, predator and prey together, all seeming to flee from something. Suddenly this spectacle gets interrupted by the sound of two military helicopters, who announces to them that the area is now quarantined. Then Beaver goes “What do you mean quarantine? We got a sick guy down here!“ and we pretty much got it established that these characters are dumb as fuck. Because there’s no way a quarantine and a guy with some kind of mysterious illness could have any connection whatsoever, riiight? Jeez.

When Jonesy and Beaver get back inside the cabin, they see a trail of blood from the bedroom leading to the bathroom. Uh-oh. Some nasty shit is going on here. They ask Rick if he’s ok, and he screams at them that he wants his privacy while it sounds like he’s having a really, really bad case of the stomach bug. When he stops answering them, they get inside and see that Rick sits dead on the toilet, covered in blood. A big worm creature writhes and screams in the toilet, having been literally shat out by Rick. Beaver sits on the toilet to keep the lid down to trap the creature, but the creature is strong, and everything quickly goes to shit for both Beaver and the other characters.

Alright, enough with the shitty shit-jokes, although this review could’ve had a lot more of it for more than one reason. This is Dreamcatcher, a sci-fi-horror film released in 2003 and based on Stephen King’s 2001 novel of the same name. The movie was directed by Lawrence Kasdan, co-written with William Goldman. It has been receiving generally negative reviews and was a flop at the box office, having grossed $75.7 million against a budget of $68 million. Which is by no means a massive flop compared to some other box office failures we’ve covered here at Horror Ghouls, like for example Virus (1999) with its $75 million and $30.5 million result. So it could’ve fared a lot worse. The one who took the actual damage for the movie’s failed success, however, was the director who pretty much got his whole career flushed down the toilet (no pun intended). In a 2012 interview, Kasdan admitted that prior to this film’s failure, he was planning to do The Risk Pool with Tom Hanks, and had written a script from Nobody’s Fool by Richard Russo. Didn’t happen. And then years passed and things kept not happening, and he didn’t make another movie until 2012 which was called Darling Companion.

Stephen King, on the other hand, praised the film upon its release and stated “This is one of the very, very good adaptions of my work“ (ho-hum…really?) and also added that the film “would do for the toilet what Psycho did for the shower“. Err…nope, it certainly didn’t. But maybe Stephen King at this point was still high on OxyContin, as when he wrote the Dreamcatcher novel he had just recovered from a severe 1999 car accident which he almost died from. It happened when a van struck him while he was walking, which I guess is referenced in the scene where Jonesy gets hit by a car in the beginning of the movie. King admitted to having been “pretty stoned“ on OxyContin while writing it and has later expressed being dissatisfied with the outcome of the book.

If you have read some of Stephen King’s books, you’ll be quite aware of how certain things only make sense when still in book format, and how transferring them to the screen often turns it into something messy and nonsensical. And how he likes to return to certain themes and topics. This one really packs in so many of the formulaic Stephen King ingredients, from the group of male childhood friends, something experienced during childhood, and the supernatural powers and a creature/monster of some kind. And while this movie pretty much warranted B-grade actors, there’s a surprisingly strong cast list, like for example Thomas Jane as Henry and Morgan Freeman in a smaller role as Colonel Curtis. Nothing bad to say about the acting here at all, the only thing is that the lead characters are so incredibly dumb it becomes a bit jarring at times. And when one of the guys becomes “possessed“ or whatever you should call it, and for some unexplained reason starts speaking in an upper-class British accent, I’m not sure whether to snicker or cringe.

Storywise, the movie is pretty much all over the place. It starts decent enough, but quickly starts going back and forth and becomes a bit disorienting as to what the heck is actually going on. Maybe it would’ve worked better as a miniseries, who knows. Still, there’s also the total shift in tone where the scenes with the group of friends are somewhat cheesy, nonsensical and oftentimes weird, while the subplot with Colonel Curtis and the military turns everything into a full-on action film. It’s like there were two films in there, badly merging together.

So, yeah…Dreamcatcher is definitely not one of the best Stephen King adaptions, but as far as silly, trashy B-movies goes it’s actually a bit of fun despite a somewhat long runtime and a bit sluggish pacing. And I guess only a Stephen King high on OxyContin would write a horror novella where diarrhea is a key factor throughout the story.

Director: Lawrence Kasdan
Writers: William Goldman, Lawrence Kasdan
Country & year: USA/Canada, 2003
Actors: Morgan Freeman, Thomas Jane, Jason Lee, Damian Lewis, Timothy Olyphant, Tom Sizemore, Donnie Wahlberg, Mikey Holekamp
IMDb: https://www.imdb.com/title/tt0285531/

The Advent Calendar (2021)

Posted on December 2, 2025 by HorrorGhouls

Eva is a former dancer who is now wheelchair-bound, forced to live a paraplegic lifestyle. While she does her best to adapt to this new lifestyle, it’s obvious that she’s struggling. On Eva’s birthday, her friend Sophie comes by and gives her a gift she bought at a German Christmas market: an Advent calendar which looks very odd, and makes Eva even more cautious of it when Sophie admits to having actually stolen it. When opening a hatch, you get a candy just like in a traditional calendar, but these are different. Once she’s opened the first hatch, she’s trapped in the Advent Calendar’s power and must open and eat every single candy on the respective day. The hatches can also only be opened after 12 at night, so yeah, there’s some obvious spooky stuff going on here. While Eva’s greatest wish is, of course, to be able to walk again, she notices that the candies from the Advent Calendar seems to be helping, but each opened hatch comes at a cost. The question is how much Eva will be willing to sacrifice in order to get her greatest wish on the Advent Calendar’s last hatch on the 24th…

The Advent Calendar (original title: Le Calendrier) is a French horror film from 2021, written and directed by Patrick Ridremont. It’s a nice little holidays themed horror movie, with the focus being on a cursed Advent Calendar (we already have a ton of “evil Santa“ horror movies, so it’s nice to see something a bit different for a change). Our protagonist Eva, being in the vulnerable position she is, often finds herself going through all kinds of degrading behavior, especially at her job with her boss being a sleazy dick who just wants to replace her with someone who has functioning legs. And to top it all, her replacement even has a mocking attitude towards her. When these two gets their comeuppance, it feels rather satisfying, and here is where the story manages to mix the “dream come true“ with the “nightmare come true“ scenario: some of the hatches she opens, actually bring forth good things. Once the supernatural events come into place, it’s gradual enough to be written off as mere coincidences, until it becomes obvious to Eva that they’re not. Then there’s the hatches that brings forth…horrible things, more like sacrifices for what she’s receiving. It’s one of those stories where you can understand that the protagonist wants to keep going when she believes she will eventually reach her final destination, her biggest wish of being able to walk again. Then it all depends on whether or not Eva thinks that the way towards this goal was worth it in the end. A classic “careful what you wish for“ story, but wrapped together in an interesting narrative.

The cursed object itself, the Advent Calendar, looks really cool too! It resembles something that could’ve been displayed in an occult museum, designed in a way that makes it look both like an old antique but also like something made by people who really intended to conjure something from the depths of hell itself. It’s an object that isn’t made to look overtly scary, but it’s just uncanny enough to feel off. Which works perfectly in this movie. And like someone who used to enjoy the old-fashioned traditional advent chocolate calendar during the holiday seasons, I could reminisce a bit about the excitement of opening a new hatch. Yes, back then it was only a tiny piece of chocolate, but damn, we children of the 80’s weren’t very hard to please…

The Advent Calendar is one of those typical “cursed object“ horror movies, which does inevitably play on certain tropes and cliché’s but also delivers an interesting enough premise and a solid story and pacing to keep you engaged.

Writer and director: Patrick Ridremont
Original title: Le calendrier
Country & year: France/Belgium, 2021
Actors: Eugénie Derouand, Honorine Magnier, Clément Olivieri, Janis Abrikh, Cyril Garnier, Vladimir Perrin, Jérôme Paquatte, Laura Presgurvic, Isabelle Tanakil, Jean-François Garreaud, Olivier Bonjour
IMDb: www.imdb.com/title/tt12496706/

Frankenstein (2025)

Posted on November 28, 2025 by HorrorGhouls

The year is 1857, and the crew of a Royal Danish Navy ship sailing for the North Pole discovers a severely injured man. Suddenly they are attacked by a huge, rage-filled and violent man, more resembling a creature to the crew than a human being. After this creature has killed and hurt several of the crew members, Captain Anderson uses a blunderbuss (a 17th- to mid-19th-century firearm with a short, large caliber barrel) and manages to sink the monstrous being into the icy water. Gone for good now, right? Hah. In the meantime, the man they just saved, Victor Frankenstein, explains that the creature is in fact his own creation. And he starts to recount the story of how it all came to be.

Frankenstein from 2025 is produced, written and directed by Guillermo del Toro, which has been a dream project for the guy for a long time. It was initially in development for Universal Pictures, but they killed it off and then Netflix came and brought it back to life, or Frankensteined it if you will (ha-ha). And as expected it is of course a beautiful gothic film in true Guillermo del Toro-style. While the beloved and well-known story of Frankenstein doesn’t need much of an introduction, it’s still worth noting that this story have actually rarely been told in a true-to-the-book fashion. While the story was written by 18 year old Mary Shelley in 1818, there have been numerous adaptions and re-imaginings over the years. Most famously the 1931 Universal Pictures movie with Boris Karloff as the monster, which created the iconic “Frankenstein’s monster“ look with the flat head and bolts on each side of the neck. This character is one of the most recognized horror icons, and you know who he is even if you haven’t seen any of the movies or read the novel. (Yet…despite how well known the story of Frankenstein is, though, there’s still an odd amount of people out there who believes that Frankenstein is the creature’s name…but I digress).

Guillermo del Toro’s version of the story has more in common with the book than many of the adaptations that’s been done over the years, but it’s still taking some turns of its own. Victor tells his story about how he grew up grieving his mother’s early death and getting hardened by his father’s abuse, and he becomes obsessed with becoming the greatest surgeon ever, aiming at being able to “cure“ death. Certainly no lack of ambition there, and certainly no lack of egotistical narcissism either. When he actually does manage to reanimate a corpse, which is of course an incredible feat even though the poor thing just looks like it wants (and needs) to be put out of its misery as soon as possible, the spectators aren’t exactly thrilled by what they see. The Royal College of Surgeons of Edinburgh expels him, denouncing it as sacrilege. That doesn’t stop the doctor, because if there’s a will, there’s a way! Or more precisely, if there’s money, there’s a way, because his display also caught the attention of an arms merchant called Henrich Harlander, who offers Victor an unlimited budget to continue his experiments. And so, the body parts are harvested from hanged criminals and soldiers killed in the ongoing Crimean War, so the mad scientist can finally build his large creature to reanimate by harnessing lightning to send electric currents through the lymphatic system. And we all know that this becomes a success, creating the “creature“ which later becomes the bane of Frankenstein’s existence.

This movie is, visually, a treat from the very start to the finish. The cinematography, set designs and costumes are all top notch, but of course nothing less can be expected from a del Toro film. The cinematographer Dan Laustsen once again delivers a treat for the eyes, just like he also did in this year’s The Gorge. This is all offering up a romantically gothic banquet, perfectly scored by Alexandre Desplat’s atmospheric music.

Performances are overall pretty good, with Oscar Isaac as the narcissistic madman Victor Frankenstein who will stop at nothing to achieve is goal, and Jacob Elordi as the creature who is rightfully confused and scared at the start, until all the wrongdoings against him turns him into an angry beast. Although…I have to admit I was a little conflicted about the creature’s appearance in this movie, because…well…there’s nothing really monstrous about him. At the beginning he kind of reminds me a little of the Zora people in the Zelda games, with his blue-ish skin and all. He does change his appearance a bit later on as he evolves, but his looks are never unattractive. I get that this is an obviously more romanticized version, where the creature is a lot more meek than in the original story or many of the other adaptions, but it feels a little off how people then are so frightened of his appearance. He literally just looks like a big, handsome guy with scars on his face, who’s gone through some rough times. Maybe Hunkenstein would’ve been a good name for him.

Aside from the two main actors of the movie, it was also fun to see the beautiful Mia Goth in two supporting roles here, first as Victor’s mother (which we see very briefly), and then as Elizabeth who is the fiancée of Victor’s brother, but also Victor’s obvious love interest. Like in all classical “beauty & the beast“ stories we do of course get a connection between the creature and Elizabeth, as she’s very empathetic as opposed to Victor’s extreme egotistical personality. If there’s one thing I feel this movie robbed us of though, it’s seeing Mia Goth as The Bride. I honestly really thought that moment was coming, too, but it just fizzled out into nothing. Oh well.

Overall, Guillermo del Toro’s vision of Frankenstein is as expected a solid, beautiful gothic sci-fi adventure, and once again works both as a story of wonder and as a tale of warning about what could happen once humans are not fully cognizant of the things they create and the consequences it may bring. A tale as old as time, of humans riddled with arrogance, narcissism and greed…too often asking themselves “can I“, when more often they should have asked themselves “should I“.

Writer and director: Guillermo del Toro
Country & year: USA/Mexico, 2025
Actors: Oscar Isaac, Jacob Elordi, Christoph Waltz, Mia Goth, Felix Kammerer, Charles Dance, David Bradley, Lars Mikkelsen, Christian Convery, Nikolaj Lie Kaas, Kyle Gatehouse, Lauren Collins
IMDb: https://www.imdb.com/title/tt1312221