Five Turkish police officers answer a call for backup, and find themselves inside an abandoned police station that is a portal to a strange and terrifying hell.
This is a visually striking film, bathed in red light, buckets of gore, and terrifying images glimpsed at the edge of the screen and lurking in the shadows. The Grand Guignol horrors on display are more than a little over the top, with manglings and mutilations and torture galore, and the story quickly becomes weirdly allegorical while also insanely bloody. It’s definitely nightmare fodder, but stunningly executed all the same.
A police officer finds a blood-covered man crawling along the side of the road, and rushes him to the hospital. Soon after he arrives, something starts to transform the patients and staff into monstrous and blood-thirsty creatures. When the survivors venture into the hospital’s mysterious sub-basement, they find that much is amiss.
This movie has some great body horror effects going on, and some impressive gore. It teeters between horror and science fiction, with some Satanic cult action tossed in, and that gets to be a bit much, but it delivers some good scares and cringes.
On the eve of the First World War, a young man travels to an isolated Antarctic lighthouse to serve as a meteorologist. He discovers that the previous meteorologist died under mysterious circumstances, and that the lighthouse keeper with whom he will share the island is keeping a strange amphibious humanoid as a kind of pet/sex slave. Every night, hordes of the humanoids rise from the waves and attack the lighthouse, and the keeper and meteorologist must fight for their lives.
I expected something a little more like “Shadow Over Innsmouth,” but this feels a little more like “Avatar” (albeit quite a bit darker and gorier). There are some gorgeous scenes of the stark Antarctic island, and the underwater scenes are impressive, but the large-scale battles feel clunkily animated.
An archivist becomes obsessed with a 100-year-old film that documents a crime that occurred at his home. Meanwhile, his wife has gone missing, and it comes to light that she was having an affair. He begins to lose his grip on sanity, believing that there is something in the house that can only be seen through an old movie camera that is responsible for both the long-ago crime and his wife’s disappearance.
This is a good atmospheric movie, with a few scary moments (particularly when the archivist’s young son is threatened by the ghosts) and some good plunging-into-madness hysteria from the lead actor. And the ending is nightmarish and unsettling, a final dive into insanity. Overall a nice little ghost story.
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.