When his followers abandon him over a Satanic sex ritual, occult practitioner Laval Blessing conjures a demon to exact his revenge. Can Detective Frazetta crack the case and stop him before it’s too late? (Also, there’s a really awesome bar fight, and one of the cult members looks like Frank Zappa.)
Over the top horrible and campy, but also strangely fun and engaging. This was clearly made on as little budget as possible, and with an incredibly sparse script, but it leans into its subject and isn’t afraid to take the most asinine premise with utmost seriousness. Set your expectations low, and you’ll enjoy this little romp.
Recently released from a psychiatric hospital, Jessica, her husband Duncan, and their friend Woody move from New York City to a bucolic New England village. They find that the farmhouse they bought is occupied by a transient, Emily, but they invite her to stay. Soon Jessica starts to see and hear strange and disquieting things; are they a recurrence of her psychosis, related to the strange stories of the farmhouse’s past, or a plot to drive her mad?
I believe I saw this movie on television at some point; my mother was a horror fan, introducing me to Stephen King, “Harvest Home,” “The Hearse,” “Motel Hell,” and many other gems, so it’s the sort of thing that would have been must-watch-TV if it showed up late at night. It has a languid, dream-like quality, with its late summer setting with a hint of menace just beneath the surface. We hear Jessica’s inner monologue throughout, and it’s easy to conclude that she is indeed going mad, but then there are enough actual creepy events–the strange mute girl, the ominous old men in the town, Emily’s seductive ways–to suggest that there is something evil afoot.
Zohra Lampert’s performance is a tour-de-force of psychic fragility and gradual descent into madness; it’s much subtler than Edwidge Fenech’s in the somewhat-similar All the Colors of the Dark.
Huge thanks to Shudder for making this hard-to-find classic available!
Alexandra joins her boyfriend Nathan on a “Slasher Sleepout” weekend, where participants are treated to a thrilling camping trip being stalked by a killer. But the fake killer may be all too real …
There are twists within twists within twists in this movie; it seems to be going in one direction, then abruptly goes in another, and just when you think you have it figured out it all changes again. It has a “Let’s Scare Jessica to Death” vibe, where we are both doubting the protagonist’s sanity and certain that she’s the only sane person on the screen. It’s a fun ride–not especially deep, not particularly daring, but fun.
A boy living in a farming community comes to suspect his neighbor, an English widow, is actually a vampire, who he suspects is responsible for the mysterious disappearance of two of his friends. After his father’s brutal suicide, the boy’s brother comes home and starts an affair with the neighbor, which the boy tries to disrupt when signs of the vampire’s effects on him become apparent.
This movie is strong on concept, but weak on execution. The ideas in it are really interesting–I like the way it slowly unfolds that the boy’s brother has been away in the Pacific during nuclear weapons testing, and the way he and his friends misinterpret the neighbor’s grief and isolation as signs of vampirism. But the acting is melodramatic, and some important plot points–in particular the friends’ abductions, and the father’s history of homosexuality and possible pedophilia–are left dangling.
Two high school boys skip school to drink, smoke, and goof off in an abandoned mental hospital. In the basement they find a woman chained naked to a table, apparently in a strange undead state. One boy wants to keep her as a sex slave, and one boy wants to liberate; both plans lead to gruesome consequences.
This movie has a similar vibe to The Corpse of Anna Fritz: toxic masculinity, the perils of peer pressure, borderline necrophilia. “Anna Fritz” is the better movie, with a much more satisfying conclusion, but “Deadgirl” has some moments of real tension and stays on-message without becoming preachy.
An American artist who has made a series of dioramas of the scenes of mysterious disappearances is invited to the Irish home of a former priest involved in one of the vanishings, and is commissioned to create a model of a grotto near his house. The priest’s assistant has strange ulterior motives in the invitation, and the priest is unable to warn the artist of the danger she’s in.
Woodsy grottoes, statues of Mary, lush bogs, a creepy old house, and constant rain provide the mood for this movie. It’s really much more mood than plot that moves this story along, with its constant movement between dreaming and waking and the dreary atmosphere. Overall a good movie, with a few creepy moments and an interesting premise, but it wraps up a little too neatly and never really provides any scares.
A band of deserters from the English Civil War are compelled by an alchemist (with the assistance of some psychedelic mushrooms) to dig a hole in search of buried treasure. Things get weird.
This is a strange and disorienting movie, cycling through almost Monty Python-like slapstick, psychological torture, mysticism, and historical re-enactment. There’s bawdy humor, grim death by musket, stinging nettles, and some frightening screams.
Sean lives in a trailer in the woods with his cat Kaspar, working on alchemical experiments with plans to raise a demon and gain worldly wealth. His sanity and health deteriorate, and worldly wealth certainly does not follow from his efforts.
I enjoyed this quiet, sad little movie. Sean is strange but likeable, and his dreams of wealth–a mansion in the woods filled with Doritos, Gatoraide, and Little Debbie snacks–are charming in their pathetic lack of imagination. His past is never explained, but there are hints that suggest he’s not running away from much happiness. His decline, probably sped by the fact that he can’t find the psychiatric meds that his friend Cortez delivered along with some groceries, is sad to watch.
Whether or not he was successful in raising a demon is unclear; he sees things, but those may be his psychosis at work. There were certainly metaphorical demons at play in his mind. It’s an interesting contrast to A Dark Song, another movie about raising demons and being surprised at what responds.
When 13-year-old “Fool”‘s family is threatened with eviction, he joins a pair of robbers who are planning an ill-conceived heist of the landlord’s house. The home, however, is an insane fortress with mutilated cannibals imprisoned in the basement by a pair of deranged siblings.
This movie is over the top in so many ways: a wild mix of horror, comedy, and satire, with an angry political vein just under the surface. There are some tense moments, particularly when Fool and Alice are chased through the walls by the shotgun-wielding landlord, and some comic slapstick routines. Tonally uneven, but a fun and wild ride.
An assistant at an LA art gallery discovers a cache of strange and disturbing paintings when her reclusive neighbor dies. The paintings become the focus of much interest among art collectors and dealers, but they may be much more unconventional than most outsider art.
The characters in “Velvet Buzzsaw” are all delightfully unlikeable (except Coco, I liked Coco), driven by ambition and greed. And the ends that they meet are delightfully grim, and entirely deserved, giving the movie the feel of a kind of revenge fantasy. But the artist behind the deadly artwork seems to be as horrific as his output, so rooting for the mayhem feels a bit awkward. All in all, I enjoyed this movie for its wit, stylish design (it has moments that feel like the most hallucinatory moments in Argento’s “Three Mothers” films), and not-so-subtle satire. Also for John Malkovich, who basically plays John Malkovich.