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The Taking of Deborah Logan (2014) Review

The Taking of Deborah Logan (2014)By Jennica Lynn Johnson
MoreHorror.com

I was about 8 years old the first time I saw the inside of a nursing home. This wasn't a senior apartment complex or an assisted living facility. It was a depressing place with fluorescently lit rooms for sleeping and a television room for visiting. And it was full of people that time forgot and especially people who forgot time.

My step-grandfather had Alzheimer's and for some reason my parents thought bringing a strange little girl to visit him would lift his spirits as if he wasn't confused enough.

I'll never forget the moment when I walked through the doors into the waiting room. An elderly woman who I had never seen before in my life bent down until she met me at eye level, smiled, and said, "I remember you when you were just a baby."

Aside from being just as confused as she was, I was also quite frightened by the sight of someone so far removed from reality, and I wondered if that could be me one day.

But what if dementia wasn't the cause of such drastic mind alterations? What if something--or someone--sinister was at play? Just ask Deborah Logan.

The Taking of Deborah Logan (2014) begins as a heartbreaking student documentary about a woman caring for her mother, Deborah, whose daily struggle with memory loss is worsening. But it soon spirals into a story about an aging woman overtaken by a deep, dark secret as well as the spirit of an occultist with unfinished business.

The film stars soap opera queen Jill Larson, who is best known for her lengthy career in All My Children. Regardless of her lack of experience with the horror genre, Larson demonstrates great flexibility in her performance abilities as she shifts from being a classy, endearing woman to being an absolute barbaric nightmare.

'Olalla' Film review

Olalla PosterReviewed by Jonathan Weichsel
MoreHorror.com

There has been a huge explosion in recent years of great female horror film directors who are transgressing boundaries with gory, exciting, thought-provoking blood baths. Amy Hesketh, an American writer-director-producer-actress working out of La Paz, Bolivia is a name that should be on everybody's lips when they talk about female horror film directors, but unfortunately she is virtually unknown in her own country.

I am not quite sure why this is. Perhaps it is because she lives and creates so far away in such a remote country, but more likely it is because her films are so sexually transgressive, and are so determined not only to deal with taboo subject matter, but to be taboo objects themselves, that it's just a little much for high-strung Americans to deal with, or perhaps, even more likely, the gate-keepers, such as film festival directors and horror journalists, who are making the assumption that Americans couldn't possibly deal with Hesketh's work.

Amy's films are amazing, and Olalla is her most entertaining and horror-centric film to date. The long takes of Amy's previous films have been replaced by quicker cuts, giving the film a little more energy and a seemingly faster pace.

Throughout the history of vampire literature, the vampire, or vampirism has been used as a metaphor for many different things. There have been stories written about economic vampirism, sexual vampirism, psychological vampirism, vampirism has been used as a metaphor for drug addiction, capitalism, and the decline of the bourgeois. In Olalla, vampirism is used as a metaphor for sexual shame, and how this shame is inflicted on the deviant individual from without, as opposed to coming from within as most people assume it does.

Olalla is about an ancient, incestuous family of vampires living in a remote, secluded estate visited occasionally by people who need to go to the country for a cure. Amy plays the title character, Olalla, a morose figure whose urges are kept at bay, repressed by her family's strict customs.

Torture Garden (1967) Review

Torture Garden CoverReviewed by Kevin Scott, MoreHorror.com

Torture Garden (1967)
Written by: Robert Bloch
Directed by: Freddie Francis
Cast: Burgess Meredith (Dr. Diablo), Jack Palance (Ronald Wyatt), Beverly Adams (Carla Hayes), Peter Cushing (Lancelot Canning), Maurice Denham (Uncle Roger), Robert Hutton (Bruce Benton), John Standing (Leo Winston), John Phillips (Eddie Storm), Bernard Kay (Dr. Heim), David Bauer (Mike Charles)

It goes without saying how much I love the Amicus and Hammer anthology films. So elegantly terrifying with a prim and proper British flair, I would love to see a film like that today. Not saying that there aren’t good anthologies made now, but I haven’t seen any that mined that perfect blend of EC comics pulp horror and some solid style as classically trained actors and actresses bring it to life. I can even look past all the neckerchiefs and high 1970’s fashion, in fact I kinda like it.

“Torture Garden” is like having your fish and chips with some apple pie for dessert. If that subpar analogy was lost on you, I’ll be glad to elaborate. It was thought this Amicus outing might need some recognizable American actors to boost its appeal in the States. We get Burgess Meredith and Jack Palance in their element, and clearly the characters were written with them in mind, or they were so good that they made the roles their own. I would easily believe either theory. I said this was an anthology, so there’s a lot to talk about.

‘The Houses October Built’ (2014) Film Review

The House October BuiltReviewed by Jesse Miller
MoreHorror.com

One of the best things about Halloween is seeing scare houses set up all over the U.S, from local groups to major organisations like Universal Studios holding the annual Halloween Horror Nights. The Houses October Built takes this concept and uses it to ask an intriguing question – what if real evil lurked behind the mask of any of the scare actors?

This film had me sold on its premise alone – a group of friends take a road trip across America looking for the most extreme scare house but are most unprepared for what they end up uncovering.

The film falls into the ‘found footage’ sub genre and borrows from the best and worst of the lot, providing some ingenious and unsettling moments that will stay with you but also coming with a handful of what are now found footage film clichés that only caused me to let out a few exasperated sighs.

The underlying question of the film – what if true evil lurked behind the masks of scare actors? – Is effectively explored, sharing snippets of actual scare houses around America that the fictional group happen to be exploring and occasionally, the feature will jump to what may very well be actual interviews with scare actors. And if they are staged, they sure are convincing – so if that’s the case, my hat’s off to the cast and crew there for being quite convincing.

Where the film stumbles is with its pacing and writing – this is a 90-minute feature that spends most of its time meandering from scare house to scare house without much focus of where the film is going. This would be okay if the characters were fleshed out and made to be more interesting but instead what you’ve got here are a poorly sketched bunch of friends.

‘Annabelle’ (2014) Film Review

Annabelle PosterReviewed by Jesse Miller
MoreHorror.com

‘Annabelle’ (2014) Film Review

Before The Conjuring there was ANNABELLE, the story of how this rather evil looking doll came to be possessed and its journey from original owners to the display box seen at the Warrens in The Conjuring.

Yup, the creepy doll - that anyone in their right mind shouldn’t even buy before it was possessed – gets it’s full length film in this shared film universe that got kick started with the successful sequel The Conjuring.

Directed by John R. Leonetti and written by Gary Dauberman, ANNABELLE starts with happy couple Mia (Annabelle Wallis) and John (Ward Horton) suffering a home invasion by two cultists. The cops manage to arrive on the scene in time to secure the household, but not before one cultist works her mojo on the nearest object – the already creepy doll. Weirdness and terror ensues.

Look, there’s not much here in Annabelle that we haven’t already seen in other demonic possession movies, not to mention done better, and more often than not, the film borrows from the worst of the worst and goes for the obvious jump scare but it’s never disastrously bad. I mean, it’s actually pretty watchable and far from the worst I have seen.

The leads do their absolute best with the material and they do it all with a straight face – better yet, it’s probably one of the best on screen-married couples in horror I’ve seen in a while. I mean, usually the guy’s a dick and the marriage goes to hell but these guys are just too sweet and I actually enjoyed watching them work together through this – even if the horror movie logic leads them to make a few stupid decisions here or there.

'Piranha Sharks' Film Review

Piranha Sharks PosterBy Robert J. Thompson II
MoreHorror.com

What do you get when you cross bio-engineering, strippers, deadly fish, gold-flake cinnamon drank, and lovable losers? You get awesome, is what you get. This particular serving of awesome is called 'Piranha Sharks', and it comes to you from the mind of one Leigh Scott. Sigh. Yes, 'Transmorphers' Leigh Scott. No, this is not 'Transmorphers'. Relax.

Piranha Sharks are bio-engineered creatures, that are repackaged, and targeted towards kids, as the year's hot new Christmas item. However, when the animals make their way into the New York water system, it falls on Jackson (Collin Galyean), and his pest-killing buddies (John Wells, and Josh Hammond) to get rid of them, before they destroy the city.

The writing works first, to set this film apart. It takes a shot at many of the cheesy indie cliches, with hilarious class, and accuracy. The movie is laugh out loud funny, during several scenes. John Wells, Frederic Doss, and Kevin Sorbo steal the film, comedically. The acting, in general, is phenomenal, and I enjoyed just about every part, including bit part appearances from the likes of Jose Canseco, and Gina Marie Zimmerman. I really enjoyed Amy Blackman (Dominique), and Ashe Parker (Ellen), too.

The movie isn't without it's brow-raising moments. The CGI, in particular, is rough, at times. But then, you have to understand that this is part of the appeal. Then there's Jackson's son, Lawrence, who is played well by Jon-Christian Costable – but that Bieber haircut, man. Am I reaching for issues with the film? When I use a child's haircut as a negative about a film? Probably. But it's just so darn fun, that it's hard to pick out specific issues. The overall construction of the film is great, for indie fare. The performances, writing, shots, etc, all great. The things people are going to find fault in, were almost all intentionally done.

'See No Evil 2' Film Review

See No Evil 2 CoverReviewed by Robert J. Thompson II
MoreHorror.com

Possible spoilers ahead. *Seriously, don't read, if you haven't seen the movie*

When I first heard about Jen and Sylvia Soska (re: Soska Twins/The Soskas), I admit I had never seen their work. I had zero idea about who they were, or how they had come to Indie Horror prominence, yet once I started hearing their names, it became almost a daily occurrence.

Something about this concerned me, though, because the first thing I heard about them was, “Have you seen 'American Mary'? They're awesome for female Directors! Their stuff can lean a bit extreme feminist at times, but, they're not bad, at all!” – and that didn't quite sit well, with me. The way their work was described was almost 'man-hating', and for obvious reasons, I found myself hesitant to seek out their work.

Then I heard that Katherine Isabelle was their lead in 'American Mary' (Review), and I have to check out anything with Ms. Isabelle in it. After that viewing, I became a fan, immediately. I also realized that some people have no idea what they're talking about, and The Soskas' work is far from 'man-hating'. Shortly after, I heard that a sequel to 'See No Evil' (a very underrated slasher, in my opinion) was in the works, and The Soskas were attached to Direct, with WWE's Kane (Glenn Jacobs), set to return as Jacob Goodnight. Cue Daniel Bryan 'YES!' chant at my computer desk, that night. Don't judge me, monkey.

The great news setting up See No Evil 2 kept rolling in from there. Katharine Isabelle was lined up for a part. Danielle Harris was cast as the lead. Then I got bummed. The first 'See No Evil' got a theatrical release. 'See No Evil 2' would not. You mean the three of us out there, holding out hope for a sequel all these years, couldn't go to a theater, and enjoy this flick?!? That's alright, though, because at least it would get a Blu-Ray release. And I'm a man who enjoys midnight strolls to Walmart, to pick up new movies. So naturally, I was there, at midnight. Six boxes of movies were stacked at the end of the aisle, and I knew the movie was in there somewhere. After asking permission (always ask permission before opening these boxes, people), the sales associate gave his blessing, and I shredded through them. My heart sinking with every box, as I saw no Jacob Goodnight. Then, at the bottom of the VERY LAST BOX – there he was.

MANIA, Desolation, and Kill the PA wrap filming, NSFW stills released for MANIA

MANIA - Jessica Cameron rainby Seth Metoyer
MoreHorror.com

Director Jessica Cameron is bringing the blood, sexiness and thrills yet again with her second film MANIA. Shooting on the film (as well as Desolation and Kill the PA) has wrapped and you can find all the details and some NSFW stills from MANIA under the official details below.

MANIA stars leading lady Ellie Church (Indie Director, The Girl Who Played with the Dead, And Then YOU Die!) and Tristan Risk (American Mary, House of Manson, Call Girl).

From The Press Release:
The triple feature, cross-country road movie extravaganza has completed principal photography. Producer Mem Ferda and executive producers Jessica Cameron and Jonathan Scott Higgins announced that all three projects (feature films MANIA and Desolation, along with documentary Kill the PA) are in post production. The producers were kind enough to pass along some unreleased stills from the set of MANIA.

MANIA marks the 2nd feature to be directed by Scream Queen Jessica Cameron from a script written by Jonathan Scott Higgins. Desolation was the first film to be completed while traveling cross-country and Kill the PA is the behind the scenes documentary that chronicled the making of both horror features. The passionate group of independent filmmakers all piled into an RV and shot all three features while traveling to California, Nesw Mexico, Texas, Kansas, Tennessee, Ohio, Alabama, and Arizona.

Some of the filming locations the cast and crew utilized were houses, abandoned towns, shady motels in the middle of nowhere, and the beautiful desert landscape of Arizona. In fact, while filming a death scene in the Arizona desert, FOUR cop cars showed up claiming that they received a call the team was shooting pornography. When director/executive producer Cameron explained it was a horror film, the Tucson Sheriffs became disappointed and quickly left.

Club Lingerie (2014) review

Club LingerieReviewd by Jonathan Weichsel
MoreHorror.com

I have been following the career of exploitation filmmaker Jared Masters for quite awhile now, and he seems to be on a real roll, because earlier this year I wrote that Deadly Punkettes was his best film to date, but just over six months later I have to revise that statement. Club Lingerie is Jared Masters' best film.

Jared Masters is a filmmaker whose work is inspired by the nudie cutie movies of the late sixties and early seventies, and most heavily inspired by the work of Doris Wishman. The Director once told me that Wishman's film Nude on the Moon is the movie that first made him want to become a filmmaker.

What makes Masters' films stand out from the glut of exploitation themed cinema we are currently experiencing is a deep love for the genre, knowledge of its history, and a respect for its legacy that is apparent in all his work. Where other filmmakers make movies that have elements in them that are superficially inspired by Grindhouse, with digital aftereffects that make the video look like a scratched film print as a clichéd example, Masters makes films that really capture the feel, the fun, the humor, and the liberated atmosphere of the exploitation films of yesteryear.

Club Lingerie goes a little further than Masters more recent movies in mining the old nudie cutie movies for inspiration. The film is a synthesis of everything I like about Masters' movies, with nothing extraneous or modern getting in the way. At times the film has a wild, side show atmosphere to it, it is always sexy, and often very funny.

There are sly bits of humor in the film that still have me chuckling a day after having watched it, like the frumpy detective who uses antiquated technology such as a tape recorder and delivers all his dialogue in a monotone. The last twenty minutes features two of Masters' funniest and strangest scenes, a bizarre conversation between a transvestite and a puppet, and an absolutely amazing strip tease in which a woman auctions off all her clothes to a live audience in order to make her abusive ex-boyfriend jealous.

A Grim Becoming (2014) review

A Grim Becoming PosterReviewed by Jonathan Weichsel
MoreHorror.com

A Grim Becoming, a strange little horror comedy directed by Adam R. Steigert, has five credited writers on IMDB, something which every film critic knows is almost always a bad sign, however the strongest thing about A Grim Becoming is its freewheeling script.

In terms of tone, the closest thing A Grim Becoming could be compared to is Peter Jackson's Dead Alive. Like that classic horror film, A Grim Becoming features a plot that goes off on random tangents that have little to do with the main story, characters behaving in ways that don't make logical sense, jarring tonal shifts, and situations that aren't the least bit plausible.

I realize that all this may make A Grim Becoming sound like a bad movie, but the pleasure of watching something like Dead Alive or A Grim Becoming comes from the weird, anarchic energy of an ambitious film that doesn't really care whether or not it makes sense.

The script for A Grim Becoming is clever, outrageous, and over the top. However, A Grim Becoming is also an example of a movie where the script is much better than the finished film. With a running time of an hour and fifty-five minutes, the film is way too long to really be effective as camp horror or comedy, and there is hardly a scene in A Grim Becoming that couldn't have been improved by being trimmed by a good editor. It is one thing for a film to be freewheeling and all over the place, it is another thing for a film to drag. These aren't problems that can't be fixed however, and I am not sure if what I watched was a rough cut or a completed film. With better editing that trims away the fat, A Grim Becoming could become a really great film.

The Pit (1981) review

The Pit 1981Reviewed by Kevin Scott
MoreHorror.com

The Pit (1981)
Written by: Ian A. Stuart
Directed by: Lew Lehman
Cast: Sammy Snyders (Jamie), Jeannie Elias (Sandy O’Reilly), Sonja Smits (Mrs. Lynde), Laura Hollingsworth (Marg Livingstone), Laura Press (Mrs. Benjamin), Paul Grisham (Freddy), Wendy Schmidt (Christina), Andrea Swartz (Abergail), Richard Alden (Mr. Benjamin), Patrick Patterson (Butcher), Harris Kal (Trog), Alison McCuaig (Trog), Paul Martin (Trog), Tom Martin (Trog)

Every now and then, you may watch a film, old or new that rests magnificently on its own plane of unintentional weirdness. I think that adequately describes “The Pit” from 1981. It’s an evil muppet movie with the muppets being voracious carnivores, and the kid that interacts with them being a complete and total weirdo pervy creep. That being said, it’s one of the best films I’ve seen lately that flew a stealth mission through my horror radar as a kid. I wish I could have seen this then, it would have haunted me for years thereafter.

Jamie is the central part of the story. He’s a lonely kid that can’t seem to catch a break. He’s hated and picked on by everyone. His only friend is a teddy bear that speaks to him in a strange variation of his own voice, and his only hobby is feeding some strange creatures in a pit in the woods. His parents mean well in their own way, but really don’t know what Jamie’s eccentricities are really all about. To help him out, they get him an attractive nanny named Jeannie that genuinely wants to help him overcome his social inadequacies. Sounds like a good idea, but being that Jamie is one raging hormone, it’s only inevitable that Jeannie will eventually be skeezed out by him herself.

Vacancy (2007) review

Vacancy PosterReviewed By Chris Wright
Morehorror.com

Vacancy (2007)
Directed By: Nimród Antal
Written By: Mark L. Smith

Starring: Kate Beckinsale (Amy Fox), Luke Wilson (David Fox), Frank Whaley (Mason), Ethan Embry (Mechanic), Scott G. Anderson (Killer), Mark Casella (Truck Driver), David Doty (Highway Patrol)

“Vacancy” is a commendable effort to restore thrills and tension in modern horror, which is something lost in films of this genre now. It takes on a modern take of “Psycho” with a lone motel scenario with fewer characters. It manages to merge themes from the exploitation sub genre to fit with a modern audience. “Vacancy” is a refreshing horror film that avoids heavy gore as the selling point.

A married couple, whose relationship is on the fritz, car breaks down near a small isolated motel in hopes to stay overnight until they get their car fixed the next day. Unfortunately, what was seemingly a harmless visit turns south quickly as the couple finds out the true purpose of this deserted motel. I have to admit that I thought this was going to be a huge cliché of a horror film at first. Thankfully, the clichés are minimal and added elements I never saw it going as the movie progressed.

Kate Becksinsale (Amy) and Luke Wilson (David) deliver solid performances. I loved that this deviated from the younger “sexier” leads and aimed to be more mature in nature. Without their stellar acting, this movie would have fallen flat in many areas. The couple’s marital problems make the film more realistic though I can say some of it was done in the beginning of the film as filler.

The moodiness and the atmosphere are top notch. If the atmosphere had fallen flat with literally no gore, this movie would have wound up being a boring film. I am for the underdog movies and thankfully this film did not bore me at all. I was on the edge of my seat midway through to the end.

Weirdest movie of the year, Club Lingerie, now available on Amazon

Club Lingerieby Gerald Beanery
MoreHorror.com

Jared Master's strange murder-mystery comedy Club Lingerie has released just in time for Christmas. Check out all the details below.

From The Press Release
Just in time for Christmas! The bold, daring and shocking murder-mystery comedy Club Lingerie starring cult film Goddess Bouvier (Surgikill) is now available to ship right to your very door! The perfect stocking stuffer (if your stockings dangle wide and strong)! This is not a motion picture for the shallow cinematic heart. You will laugh, you will gasp with fright, and you will be awestruck by a cast that dare to defy the laws of modern cinema, in all it’s wildly curious spender! See why this movie had to be made! The story of cougar who courageously pioneers the financial turnaround of her grandfather’s beloved nightclub! See gorgeous models die in the negligees before your very eyes, in the most unusual ways! See shoe-bombs going off, and blow-darts lodged into your very favorite girl!

Film critic Mike Haberfelner says “Club Lingerie is not just a murder mystery, first and foremost it's a great deal of fun featuring quite a few very lovely girls wearing very little … a fun comedy interludes by quite a few fan faves like Dawna Lee Heising and Richie Lillard as a perverted couple, Domiziano Arcangeli as the jealous boyfriend of one of the models, Maria Olsen as a cookie flower girl, and a homicidal dominatrix - who doesn't have anything to do with the rest of the film but is fun all the same.

Lord of Tears (2013) Review

Lord of TearsReviewed by Jesse Miller
MoreHorror.com

LORD OF TEARS is the psychological horror film debut by Scottish director Lawrie Brewster that blends a touch of Lovecraft with a sprinkling of Poe and the resulting brew proves to be a startling look at the disturbing Scottish urban legend.

The death of his mother sees James (Euan Douglass) inherit a spooky ancient house surrounded by the Scottish moors. Disturbed by his mother’s last words, a warning for him to never return there due to a childhood trauma, and plagued by some rather unsettling nightmares featuring the disturbing entity known as the OWL MAN, James delves into the brutal and shocking past that hides a twisted history.

Lord of Tears is unique for the fact that it goes for something new that audiences haven’t encountered before and it all works to tell an engaging story around it. Remember the first time you saw, say, a Japanese horror film and were taken back by its refreshing approach to horror? Well, Lord of Tears is just as refreshing, disturbing and original.

It is a film that rarely lets up – it is messing with your mind with its story, dream sequences, camera angles and its core mystery until your movie sassiness is disarmed and you are left feeling disoriented. Lord of Tears will get under your skin, I can guarantee you that much.

I only have a few gripes with this piece: For a film that manages to stay refreshing and original for the most part, it’s a little unfortunate to see the writing give in to some of the silly horror film world way of thinking that doesn’t make sense.

The sound mix here is often muddling, as dream sequences and dialogue can be difficult to hear as it is drowned out by the musical score or other effects that don’t really need that much reverberation to be haunting or effective.

‘Grave Halloween’ (2013) Film Review

Grave HalloweenReviewed by Jesse Miller
MoreHorror.com

GRAVE HALLOWEEN is mostly set in Japan’s infamous ‘Suicide Forest’, the nickname given to this rather luscious forest since unfortunately, so many folk come here to end their lives.

Because of the multiple suicides, the forest has its own special place in Japanese mythology due to the belief demons and angry spirits roam the forest. As if Japanese folklore wasn’t horrific enough, right?

The place is intriguing and uncomfortable all at once. Intriguing because – well, why aren’t we seeing more material featuring this location? The 1960 novel Kuroi Jukai (Black sea of trees) features the location and Director Gus Van Sant’s Sea of Trees is on its way out. But where are the horror films using this backdrop? Shouldn’t we be seeing hundreds? And then it’s uncomfortable material because the place is still being used for suicide and how does one work around that while being respectful to the place and at the same time crafting a piece of entertainment.

Well, that’s why GRAVE HALLOWEEN intrigues me – the piece is about a film crew visiting the forest to do a documentary on one woman’s journey to give the soul of her mother some peace. Had this been a drama, it would’ve been still quite effective but horror seeps into this world when one of the idiot characters decide to rob the grave of an unfortunate soul and in turn, curses the lot of them. Cue running around a forest area for 90 minutes and seeing The Grudge¬-like spectres lead this film crew astray.

From there on, the film becomes pretty silly. Characters get separated, picked off by the dead one by one – in rather flat and unengaging sequences I might add – and all the while you have this story arc of the main character Maiko (played by Kaitlyn Leeb) and how she deals with relieving the soul of her mother while being haunted by the forest’s spirits.

Maiko’s story is probably the strongest thing about this effort, which is a shame when the rest of the film is lacking some key ingredients that make up an effective horror film – a good couple of scares in mind and a strong concept for building said scare.

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