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The Dilemma of Theater-Going (As Exemplified by The Possession)

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I try to catch most horror films during their theatrical release. This is because I firmly believe that every dollar you spend at the box office is a vote cast for the kind of movies you want to see produced. I want more horror movies, so I support horror movies with my hard-earned cash. The trouble is, of course, that you don’t know if a movie is any good until after you’ve plunked down your $8.50 for the ticket. I try to avoid reading advance reviews, because I find they color my perception too much, so my only resource in deciding whether or not to see a movie is its preview, which we all know can be horribly misleading.
I skipped The Chernobyl Diaries because it looked terrible, and I missed Abraham Lincoln: Vampire Hunter because I want to cast my vote for horror movie intended to actually be scary. I shelled out some bucks to see The Devil Inside back in February, and turned out to be to one person aside from the director’s mother that actually liked the film (and I’m just assuming about dude’s mom).  Demonic possession movies just work for me, owing to a massive childhood fear of The Exorcist. So when I saw the trailer for The Possession, I thought it looked pretty promising, despite its being PG-13. It had a strong cast and some pretty creepy visuals, and it had been so long since a horror movie opened in a theater near me, so the decision was a no-brainer. Unfortunately, so was the film.
The Possession claims to be inspired by true events, but it turns out the true event is that someone was selling a box on Ebay that they claimed contained a Jewish demon, or Dybbuk. Several people have bought and sold the box, each claiming strange phenomena and nightmares (plus the scent of cat urine and Jasmine flowers – you take the good with the bad, I guess) had followed the purchase--claims that surely increased the value of the box with each resale. The worst things reported to have happened were an uncannily-times stroke and some hair falling out. Nothing about possession, fork stabbings, or swarms of moths as portrayed in the movie. But hey, a horror movie about lost hair just doesn’t sell tickets.
Anything even remotely creepy in the film had already been covered in the preview, and all the “scares” just fell utterly flat. The Possession, notably, resists the well-worn staple of mainstream horror, the jump-scare. Instead, it builds up a slight amount of tension, then projects the scare a mile away, revealing the scary figure looming behind someone early enough that when the character finally sees it, it has become another piece of set-dressing for the audience. I’ll take jump scares over this any day.
What The Possession doesn’t  steal from The Exorcist it cribs from recycled American J-horror. Yeah, fingers emerging from the back of someone’s throat seems like a scary idea, but that same kind of thing was done way better in The Grudge.
On the upside, the performances were very good, with Jeffrey Dean Morgan and Kyra Sedgewick as recently divorced parents juggling childrearing duties, each giving a heartfelt and real performance. Likewise, the young girl who played the recipient of the shiny, new demon did an admirable job. So much so that the film really should have worked. I was sucked in by the relationships and the characters, but that never translated into horror at seeing their lives torn apart by demonic possession.
So, a total waste of money, right? Not entirely. This is one of those cases where the experience of going to the theater for a communal experience really paid off. As utterly ineffective “scares” and disappointment piled up, I became increasingly fascinated by the 2 teenage girls in the front row (and not for the reason you think, perv). They were screaming at everything and getting off priceless one-liners like “Do NOT touch the box!” in total seriousness. One of them drew her legs up to her chest and was peeking out at the screen from behind her knees. When something “scary” would happen, she wouldn’t just look away, but turn her whole body away, nearly in a laying position. At one point I thought she was literally going to start crying. It got to the point the whenever the tension would start to amp up, I’d stop watching the movie and watch them instead. Grizzled horror movie veteran that I am, I found this hilarious.
Near the end it got so intense for them that the one with the stronger constitution started making dumb jokes just to calm the other down. Then they started to get giggly, which might have annoyed me at a movie I was into, but in this case I was just interested in their coping techniques. Then, in mid-giggle the movie pulled out its one and only effective jump-scare, and they simultaneously erupted into blood-curdling screams that put to shame anything onscreen. That was it, directly behind them, I let out a howl of laughter and for the first time that night I thought to myself, “I’m so glad I saw this in the theater.”
It just goes to show that no matter how trite and overdone these horror conventions might be to us, jaded hardcore horror fans that we are, it’s always someone’s first scary movie. It would serve us well to remember that most horror films that get a national release were not made for us who count Martyrs and The Devil’s Rejects among our favorites. They’re made for the widest possible audience—the ones who might catch one horror movie a year, and a PG-13 one at that.

Finally Recovered from Halloween

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Hey there y'all,

Now that I've truly earned my reputation as the world's least reliable horror blogger, I thought I'd take a minute and show you what I've been up to, because, as you know, it certainly hasn't been blogging. I'm not bored with horror or anything. I'm still on a steady diet of blood and guts, and I've seen quite a few worth writing about. I still take mental notes about what I'm going to say here on the blog. Then I let a few days slip away. I tell myself I'll get back to the blog on the weekend, and I don't. Before I know it, a month has gone by and I feel like it's too late. But this time I've only let 4 days go by without a report on my Halloween goings-on, so I'm patting myself on the back while simultaneously rubbing my tummy.

So without further doo-doo, here's what I've been doing for the past two months: I've been elbow-deep in paper. No, not paperwork, thankfully, but paper clay. This fantastic and supercheap modelling compound is made with recycled newsletters from my workplace, wallboard joint compound, flour, Elmer's glue, and water. Check out some of my custom Halloween props:




Keep in mind that these are early attempts, and I should get better. This all came about because I was helping my 9-year-old build some Uruk-Hai armor as his Halloween costume. I got the techniques from a kick-ass little website called Stolloween, which has all kinds of tutorials and great props by a talented papier mache artist who is fanatical about all things Halloween.




Here's a few shots of what our Halloween display looked like. We didn't go all-out this year, but we still got our fair share of compliments from the trick-or-treaters. Keep in mind that I made the papier mache spiders last year before I learned all my groovy new techniques. I'll probably revisit them and add some detail for next year.






All-in-all, it was a pretty low-key affair this year. Highlights of the 2012 Halloween season included an Egyptian-themed corn/hay-maze in Missoula, and taking my son to a double-feature screening of Frankenstein and Bride of Frankenstein. Even though he'd seen them before, he was pretty stoked and had a great time. And I gained an even greater appreciation for both the original film (I always liked Bride better, until now) and for Boris Karloff. If you can pull off the trick of watching the films with a 1930's mindset, there are some pretty scary moments and a real sense of danger for the characters who are near the monster when he's attacking. Here's to hoping Fathom events brings back more classic monster movies to theaters, or even more recent classic horror. What I wouldn't give to watch The Shining in an honest-to-god movie theater.

Speaking of The Shining, I've got to plug my friends Jeff and Tucker over at the If We Made It Podcast. Their Halloween episode revisits both The Shining and Texas Chainsaw Massacre 2. If you've never experienced the glorious madness of these two dudes talking film, this is definitely a good episode to begin with. Particularly because I make a guest appearance and give my reviews of Sinister and Paranormal Activity 4. Do check it out.

Alright, now let's see if I can get in a couple more posts before the month is out. Well, we can always hope. 

Kill List: La Macabre La Review

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I wasn't sure Kill List was even a horror movie at first. Sure, it had been covered in the horror press, but a half hour in it was starting to seem like a straight drama about the family dynamics at play in the life of a hitman. Not that it was boring. I was digging all the subtle twists and guessing like mad at all the little clues that didn't yet add up, but I was preparing myself mentally to not be disappointed if the film didn't conclude with some batshit insane bloodbath (the true measure of any film). I needn't have worried.

The film begins with a screaming match between Jay and Shel, an unhappily married couple with a young son caught in the middle. We gather that the family patriarch has been out of work for 8 months and the wife is none too happy about it. This is shortly followed by a dinner party with another couple during which the domestic tension reaches the boiling point, blows up, and the groups divides up by sexes to hash things out. From all the veiled references in the dialogue (and the title of the movie) it becomes clear that Jay's line of work is assassinations. His last job went horribly wrong, and he's not particularly eager to take on the triple-contract his friend Gal is pushing on him.

At this point in the film, it is an interesting character study, presenting a fairly realistic portrait of what a hitman's family life might look like. But all the while, the filmmakers are dropping little clues that something weird is going on. Without giving away too much: the first target notices his assassins, and a strange expression comes over his face, nearly a smile. They tell him to turn around, and he thanks them. We assume the thank you is for not shooting him in the face and allowing him to turn around instead, but something about that looks tells us thing may not be the whole story. And things just get weirder from there, building to a shocking end that leaves the audience without answers, but many, many new questions.

The ambiguity of the ending really makes the film for me. At first I thought director Ben Wheatley wasn't playing entirely fair with his audience and tacked on an intentionally shocking ending just for the sake of shock value. But the more I tried to figure out the implications of the final scene, the more I could see how carefully the movie had been building toward its climax.

But Kill List succeeds on more grounds than just a great ending, it is well-built through and through. From the beginning, the film takes its time with building characters and establishing relationships, all the while dropping hints which pay off later on. "What's up with those two, they seem awfully close," you say to yourself, sure that the subtle clue you picked up on will lead to a later revelation. And it does, but Kill List knows what you're thinking, and in fact set you up to make such assumptions precisely to mess with your expectations. Kill List is the boss here, and the sooner you accept that, the easier it will be.

Because Kill List deftly pulls the rug out from under you multiple times. Sometimes just little area rugs, no bigger than a doormat, other times the entire hallway carpet at the Overlook Inn. But it times these surprises just right, so you think you know a character or where a certain plotline is going, and then shakes it all up and makes you rethink your pathetic predictions.

Full disclosure: I'm notoriously bad at predicting what's going to happen in movies, so some of you more astute viewers may end up saying to yourself, "WTF? I saw that coming 3.6 kilometers away. Is he an idiot." In the immortal words of Linda Blair, "Sometimes..."

So, if the twisty-turniness doesn't do it for you, you may still be won over by the characters, the actors portraying them, and the general tone of the film. The tone is serious and almost documentary-like in its portrayal of everyday life, and the acting seems spontaneous rather than scripted, which keeps the movie grounded even as it becomes more and more fantastic.

Oh, and the violence. It is used sparingly, which of course makes the violent scenes much more jarring. Two scenes in particular shook me. The first took place completely off-camera, but the sound and Jay's reaction made it worse than if they'd shown it. The second occurs soon after, but takes the opposite tack. It shows you the violence in graphic detail after setting you up to feel like it was going to cut away at the last minute. It doesn't, and the gore effect is probably too good for its own good.

Unlike Kill List, I'm going to use the ending to explain what you could probably figure out already. I was pretty impressed with Kill List. And while it's not a scary horror film, it is mildly disturbing, packs more than its share of surprises, and will probably leave you with some lasting images. What more do you want? I mean aside from a batshit insane bloodbath.

My Very Own Pet Leatherface - A Review of Texas Chainsaw 3D

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I'd feel the need to place a spoiler alert here at the beginning, but how do you spoil a heaping pile of bullshit? I know, I know -- What was I expecting from a 6th sequel in a played out horror franchise? Well, I suppose I was expecting something along the lines of the last 2 films, which were clearly inferior to the original, but suitably tense and creepy reimaginings of Hooper's classic. What I wasn't expecting was a cynical cash-in with a ludicrous script slapped together with a "fuck-it-it's-only-a-horror-flick" attitude.

Conceived as a direct sequel to the original Texas Chainsaw Massacre, TC3D opens with a highlights reel of kills and other iconic moments from the 1974 original, post-converted into 3D for a strange, but interesting effect. The intro flows fairly seamlessly into the new footage, which does an impressive job of capturing the look and color palette of the original. Storywise, we've got the police investigating the Sawyer farm based on the reports from Sally Hardesty of the family of cannibalistic murderers who killed her brother and friends. While I've been led to believe that they do things BIG in Texas, apparently multiple murders only warrant one investigating officer. Then again, this might be  a commentary about the state of race relations in Texas in the late 70s, seeing as they sent they black guy out solo on a clearly dangerous mission. Or it could have been a convenient plot device to make sure the cop was hopelessly outnumbered by the redneck vigilante mob that shows up and massacres the whole family, which has apparently grown by a dozen members since the original.

Did I say they massacre the whole family? We could only be so lucky. No, rather, one of the mob finds a baby Sawyer and sneaks it to his barren wife to raise as their own. This, of course, forms the basis of all the lameness to come. Oh, and Leatherface (or Jed as he's known in TC3D), manages to survive as well, despite being mentally challenged.

Fast forward damn near 40 years and Baby Sawyer has grown into a buxom 20-year old goth chick. Yeah, the filmmakers apparently didn't pass 2nd grade math. Actually, the director takes pains not to show the year on any of the newspapers, even when highlighting the date. But come on, when you open with footage of the original and everyone is clearly wearing 70s fashions and hairstyles, you can't just pretend its the early 90s so your lead will be the right age in the present. But, you know, Fuck it--it's just a horror flick.

He had to say that or they would have taken away his Executive Producer credit.
Heather is played by he gorgeous-but-acting-challenged Alexandra Daddario. I'd blame her flat and divorced-from-reality performance on the script, but I also saw her in Bereavement and found her lacking there too. The script certainly doesn't help though, as it forces her character to emotionally contort into unnatural postures to fit the ridiculous ending the filmmakers had in mind.

Heather inherits the Carson family mansion from a grandmother she never knew about, but who had been keeping tabs on her for years, because the Carsons are somehow related to the Sawyers. Heather, her boyfriend (Trey Songz), her slutty friend (Alex from Lost), and her boyfriend's friend\friend's sorta love interest Kenny (actually a pretty accomplished actor\musician\tech guru who's totally slumming in this movie) take a road trip down to Texas so she can sign some inheritance papers. The problem with inheriting houses from long lost relatives, though, is that sometimes Leatherface lives in the basement and kills all your friends.

The gore in this movie is copious and well-done, but only interesting from a special effects standpoint. The characters are only remarkable for their Hollywood good looks and their douchiness, so there's no emotional impact to watching them die. Although, this may be exactly what the filmmakers were going for. After all, when you ultimately want Leatherface to end up the hero, you don't want him to kill off anyone the audience may genuinely like. Plus, if we got all attached to them, we might think it kind of suspect when Heather suddenly reverses her opinion of good ole Jed after reading about the massacre of the Sawyers, who were, after all, just innocently making furniture from the bones of people they'd murdered and eaten when the vigilantes unjustly set them ablaze.

Been Caught Cheatin' - TC3D is a study in douchey characters who deserve to die

Anyway, Heather makes the mistake of letting the town's powers that be know that she knows what they did in the summer of '74, so they've got to get rid of her. Then she's on the run from both Leatherface and the cops. The cops catch her and tie her up, then leave to freshen up their hair or something and give Leatherface the chance to finish her off. Cousin Jed has the chainsaw to her throat when he discovers she's got a lazy plot device on her chest, marking her as a Sawyer. And you know how much blood means to this family, so suddenly she's safe from Leatherface, who frees her. But LeatherJed isn't safe. The cops attack and are getting ready to toss Old Leather into an industrial meat grinder when heather goes all Sawyer on their ass.

The film ends with Heather reading a letter from her grandmother explaining that she will have to take care of Cousin Jed, but that he'll be there to protect her. So now he's got her very own pet Leatherface. This was actually my favorite part of the film, not only because it's so ridiculous that it finally took TC3D over the top into absurdity, but because admit it, how cool would it be to have your own Leatherface?

I gave this movie several chances to change my mind, continually hoping that the filmmakers were just using the laziest slasher cliches in the biz to set up false expectations that they would then demolish in high style. At every turn, I was proved wrong. The filmmakers just didn't care enough to try to do something different with the film besides the standard small-group-of-young-people-go-to-a-remote-location-and-get-killed storyline. I got pretty excited at one point when Heather actually managed to escape the Carson estate and run into the middle of the town fair. I just knew I was in for an insane bloodbath unlike anything in the TCM series. There were teenagers left and right, crowded into small lanes between carnival rides and packed too tight for easy escape. And Leatherface is in the middle of it all with his huge chainsaw roaring like the Grim Reaper's Harley-Davidson, and you know how many teenagers her mows through? Zero. Fucking no kills at all in that scene. He just chases Heather the whole time and fucking fails utterly.

Somebody let me out of this fucking movie!

I was prepared for the movie not to be scary, but I at least though there would be limbs flying this way and that, splattering buckets of blood in gloriously cheesy 3D. Aside from 2 scenes where Leatherface is cutting through shit, there is absolutely no reason for this film to have been shot in 3D (Okay, 2 bucks extra per ticket is a fair reason, I suppose). Really, the only entertainment I got from TC3D was in thinking about how I was going to trash it in my review, and there's so many things wrong with the movie that it was actually a fun exercise. I recommend you either avoid this film, or hate-watch it with a big group of drunken friends. So, who's going to be my drunken friend?

The Conjuring: One Hell of a Haunted House Movie Mixtape

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When I heard that James Wan's next project would be Fast and Furious 7, the horror buff in me deflated a little. "There goes another talented horror director-sucked into the mainstream Hollywood machine." After watching The Conjuring I'm thinking, "Smart move." After you've made your horror masterpiece, where can you go from there?

Oh shit, did I just call The Conjuring a masterpiece? Maybe that's taking it a little far, but even so, I can't imagine a scarier, more intense haunted house movie.
It's not that The Conjuring is at all original. It's bursting at the seams with nods and homages to every great haunting and possession movie before it. In fact, it plays like a mixtape of horror's greatest hits. While that may not sound terribly appealing, for some reason this exercise in consolidation and repackaging works on just about every level.

In horror, pacing is king, and Wan has got this shit down cold. The film begins with a creepy-as-fuck opening featuring a possessed doll that puts Poltergeist's clown to shame, then settles us in with a low-level tension that slowly crescendos for the next 90 minutes, building to a balls-out climax that pounds the audience mercilessly in the face with a malevolent joy unseen since that caveman-looking fucker who kicked your ass in the seventh grade. Alright, I'm overstating things again. But give me a break, I just got out of the theater and I'm still floating on that good movie buzz.
The Conjuring should play very well with your average cinema-goer who enjoys the occasional scary movie, but for the seen-it-all nothing-scares-me horror movie junkies, it may be a harder sell. While I count myself among the horror-addicted, I have an uncanny talent for shutting off my inner critic and enjoying the ride. One common complaint among horror fans is the overuse of jump scares, and if this is among your list of peeves, I'm sorry to inform you that The Conjuring is from beginning to end a jump scare extravaganza.

But here's the thing about jump scares: deep down we all really love them if they are done well. Hack directors will substitute jump scares in lieu of real tension, but Wan doesn't hand us that platter of steaming turds. There's not a leaping, screeching cat to be found here. Again, it all come down to pacing. Wan builds the tension to the breaking point, peppering the film with minor scares so that you can never tell when he's about to hit you with a real zinger. And yeah, there's a heavy reliance on doors creaking open, but now and again one will slam into someone's face, knocking them into a pitch black basement.

The threat of physical violence looms large in The Conjuring, giving the haunting a real sense of danger. But Wan never veers back into Saw territory. The gore is minimal, which gives the few appearances of blood a real punch.

I seem to be giving Wan all the credit here, but was really makes it all work is the quality of the performances. Lily Taylor really shines in this one, coming off as naturally when she's as a sunny sixties housewife as she does when the demonic influences begin breaking her down. Watching the preview, I wasn't too thrilled with the prospect of the movie's leads being an ultra-square husband and wife paranormal research team that dresses like rejects from Awkward Family Portraits. But honestly, it is that very squareness that gives the film a classic feel that has been lacking in most horror since Kevin Williamson put pen to paper and turned every horror film into Dawson's Creek -Now with Murder! Patrick Wilson and Vera Farmiga keep the film grounded with nuanced performances that let you feel the burden of helping countless people survive demonic infestations. As characters, they're the very picture of Christian charity, putting aside their personal well-being (and kinda neglecting their own daughter, oops!) to help others in need. The five daughters aren't fleshed-out characters, being more or less only identifiable by their ages, but then, do we really want the extra thirty minutes of character-building scenes before we get to the scary shit? I think not.

While it doesn't fit neatly into my review, I just gotta say that I loved the scene where Patrick Wilson shows the reporter around his in-house repository of haunted objects. And while you'd think that real haunted objects might be more mundane, say, a haunted toaster or nail-clippers rather than a suit of samurai armor, I'm still converting my mancave into an exact replica of that room.

New Gig Y'all

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'Sup Cave Crawlers?

Apologies for the neglect. I somehow lost my motivation to update the ol' blog. No worries though, motivation has returned thanks to an invite from the venerable The Mike over at From Midnight With Love. He's embarking on some top secret project and has recruited a couple of writers to pick up the slack. I was lucky enough to make the cut.

So please check out my new post over there. It's mostly me introducing myself to FMWL readers, but there's also a list of my Top 5 Favorite Flawed Horror Films.

And it's got pictures!



And an animated gif!


Won't you check 'er on out please?

The First Annual MMM Excellence in Horror Awards - Best Actress Category

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Hey all,

Shit's a'brewing at the old mancave. This month will bring the resurrection of Films My Spouse Made Me Watch, the film blog I write with my wife. I'll also continue contributing to From Midnight With Love starring The Mike, and I contributed a list of 5 Best Kills of 2013 to the 2013 Liststravanganzatacular Episode of the If We Made It Podcast.

But most importantly, I'm returning to my abandoned post here at the mancave. 2013 was a draining, tumultuous year, and I rarely poked out my head here on the old blog. Here's to hoping 2014 be a better and more productive year.

In that spirit, I'd like to announce a celebration of the juicy year in horror that I almost entirely neglected to cover. I know most peope made their best of 2013 list back in November, but out here in BFE we must wait until the DVD release to see late-year films. And of course there are plenty I haven't seen yet, but fuck 'em. If they're so damned good, why didn't they make more of an effort to attract my attention? (Okay, I regret not having seen Here Comes the Devil, Stoker, and Byzantium.)

I'm gonna be rollng out the nominees here every couple of days, and since February is known across this great internet as Women in Horror Month, I will kick things off with a celebration of the asswhippin' performances the ladies gave to the world of horror in 2013. You know how the Oscars bumped the nominees for best picture up to 10? Well, I'm doing it with the Best Actress category instead. Best picture? As good a year as it was, I've only got 5. Actresses? My list overfloweth.

So here they are in alphabetical order:

1. Nora Arnezeder in Maniac

Maniac is a great horror film. Let's just get out of the way right now. There's no room for argument or nitpicking. It's just great. Accept that as fact and we'll get along just fine. Elijah Wood is damned good in it, but believe it or not, his casting was not nearly as important as the role of Anna. Anna is what gives the film its heart, and if the audience couldn't fall in love with this character, the film just plain wouldn't work. Fortunately, the filmmakers cast Nora Arnezeder, an actress it's impossible not to fall in love with. From her initial charm and excitement over Frank's mannequins to her grief over her agent's death to her absolute fear when she realizes she's in danger, Nora has to play the full range of emotions and does so effortlessly. She's what gives Maniac real emotional stakes which makes it so gut-wrenching to watch.

2. Jessica Chastain in Mama

So, Mama isn't a great horror film. It was a lot of fun, and I was endlessly amused at the pre-teen girls in front of me screaming like they'd never seen a horror movie before. I think one of them was actually crying in fear. And honestly, there were a couple of very scary sequences in there, but it wasn't enough to outweigh the film's many problems. The acting, however, is not among these problems. Jessica Chastain gives a restrained, nuanced performance as the punk rocker chick turned reluctant caretaker of her husband's troubled nieces. Honestly, she's just a great actress who will elevate any material you give her.

3. Meg Foster in The Lords of Salem

I was ridiculously excited when I heard this bit of casting news. Meg Foster had long since retired from movies, and I missed those haunting, ice blue eyes. Yeah, she's a huge 80s crush for me. But then I saw Lords of Salem and it was jarring. Meg spends a good portion of the film completely naked, and I was in no way turned on. In fact, as an immensely powerful witch, she uses her nudity as a weapon. Her emaciated frame repulses, while the confidence with which she carries herself while completely uncovered exudes menace. And holy shit can she sell the menace. The greatest thing about her performance in Lords of Salem is that she isn't holding back at all. Whereas some actresses would consider horror unworthy or lowbrow, you can see that she really respects the material, the director, and the audience. And you can tell she's having a hell of a time with each blasphemous line of Rob Zombie dialogue that she utters.

4. Judy Geeson, Dee Wallace, and Patricia Quinn in The Lords of Salem


While Lords of Salem might have 99 problems, a witch ain't one. In my original iteration of the Best Actress category, I had but 5 spots, and I gave them all to the women of Lords of Salem. However, I knew there were just too many great performances in 2013 to ignore the other ladies. So many other ladies, in fact, that I had to cheat and put these 3 actresses into the same nomination. It makes sense though, since they function as a unit and are rarely seen apart. Judy Geeson gets the juiciest role as the leader of the sisters. She comes off as this supremely confident, capable, older-but-still-lovely free spirit who is cooler at her age than you ever were. Then she's suddenly 100% pure grade A terrifying during her scene with Bruce Davidson when her demeanor turns on a dime. "Did I say something funny?" Patricia Quinn plays a great eccentric who, from the very beginning, seems dangerous and predatory. Then there's the perennial favorite Dee Wallace, who is hilarious as the bubbly Sonny, who practically skips around crooning about chocolate chip scones before she gets down to her true vocation of homicide. The scene where Whitey encounters the 3 sisters on the stairs is the dictionary definition of quietly terrifying.

5. Katherine Isabelle in American Mary


Excellent choice Soskas, excellent choice. Katherine Isabelle long since won the hearts of horror fans everywhere in her role as the lycanthropic Ginger in Ginger Snaps. I kind of thought she dropped off the face of the Earth after that, but a glimpse at her filmography shows that she's been working steadily ever since. But I was glad to see her return to horror, especially in a movie as hotly anticipated as American Mary. Just by virtue of being Katherine Isabelle, she's immediately likeable, and the nonjudgmental way she treats her clients makes her something of a saint. Just... don't cross her. She'll use her considerable surgical skills to put you in a great deal of pain. Both sides of her personality are underplayed perfectly. Whereas a lesser actress would ruin this role with histrionics, Isabelle keeps a cool distance between herself and her actions, which is perfectly fitting for the character.

6. Jane Levy in Evil Dead

Apparently Jane Levy was pretty well-known for being in some sort of TV show that I never saw. But I went into Evil Dead not knowing a thing about her. What I saw was an exceptionally cute, sweet girl who, when faced with heroin withdrawal, becomes a raw nerve, then a cursing screaming monster. And that's before the demonic possession. Ms. Levy plays a deadite gleefully, relishing every grotesquery that comes out of her mouth and luxuriating in some of the most disturbing self-mutilation scenes I've seen. She turns the intensity up to 11, just shy of going completely over the top, but never quite tips it in that direction. This girl's got the goods.

7. Lily Taylor in The Conjuring

Is a Lily Taylor performance ever anything short of flawless? (BTW, I no longer believe The Haunting remake actually happened. That was just a fever dream). Well, she does it again here, starting out as a somewhat meek, loving mother who ends up a terrorized victim of supernatural violence, then becomes a murderous, possessed creature. Purportedly a movie about the ghostbusting Warrens, The Conjuring is really Lily Taylor's movie. She's so relatable that you can't help but feel her terror, and then feel the terror of others as she transforms into a would-be child killer who can levitate while tied to a chair. And you get the sense that she's having a really good time doing it.

8. Juno Temple in Magic Magic


I didn't really know Juno Temple before I saw this movie, but you can count me as a fan now. She gives an incredibly realistic performance as a girl abroad who is having a mental breakdown in the worst possible circumstances. Her character, Alicia, just kind of lets things happen to her, never taking control when she needs to. She is meek and mousey most of the time, but as her mental state deteriorates, she gets more desperate and forceful. As an actress, Temple makes all the right choices, and really makes you care about this troubled girl.

9. Sharni Vinson in You're Next!

SPOILER ALERT: My favorite newcomer of the year is a final girl for the ages. Imagine if Nancy Thompson racked up a body count bigger than Freddy and you have You're Next's Erin. She begins the movie as an instantly likable, charming grad student who is visibly excited to be meeting her boyfriends parents. Because of her own weird upbringing, she sees Crispian's as the ideal family, overlooking the many signs at all is not well at home. When the home invasion starts, however, she shows her survivalist side, which is more than a little brutal. She never goes full-on antihero though; we're solidly rooting for her the whole time. I'd love to see a sequel with her character, provided it's nothing like its predecessor.

10. Sherri Moon Zombie in The Lords of Salem

Let's get one thing clear. All this SMZ hate has got to stop. Yes, you're right. She was annoying in House of 1,000 Corpses and The Devil's Rejects. But that was the character. Yes, she wasn't great in Halloween II, but it was a weird part and no one could have played it convincingly. But this is the 2nd rock-solid piece of evidence that homegirl can act. She was fantastic in Halloween, and she's even better here. The best thing about this performance is that it seems a lot like her real-life personality, and she's cool as they come. I'd totally hang out with her and so would you, admit it. That's key for a good horror protagonist, you have to get the audience to like you. They have to care, or they won't give a shit that you're being used as a vessel for the antichrist. I think SMZ plays the mental turmoil perfectly, and as someone going through considerable mental turmoil when I watched this, the performance really affected me. She truly made me feel what this character is going through, which is, after all, the point of acting. So forget what you know about Rob Zombie's muse, watch Lords of Salem with fresh eyes, and show the girl some love. 

So them's the noms. I'll be announcing the winners on Oscar night, because why would a horror fan possibly watch the Oscars, right?

MMM Awards 2013 - Best Actor Nominees

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While I had trouble cutting down the best actress list to 10, pickings were slimmer in the Best Actor category. Say what you will about the misogyny of horror films, but women clearly get the best roles. However, the dudes performed admirably as well. Here are the nominated dudes:

 

A.J. Bowen - You're Next!

 


Maybe there's no such thing as a "Scream King," but A.J. Bowen is getting close with his contributions to The Signal, Hatchet II, House of the Devil, Rites of Spring, A Horrible Way to Die, Chillerama, and Ti West's upcoming The Sacrament. But in You're Next! he really gets to shine. His performance rewards repeat viewings because you pick up on subtle choices he makes that pay off later. His interactions with his onscreen family have a familiarity and realism that make the movie work. And yeah, he's really playing a supporting role to Sharni Vinson, but he plays it perfectly.

Jeffrey Combs - Would You Rather?



Did I say there's no such thing as a "Scream King"? Jeffrey Combs's contribution to the horror genre hearkens back to the days of Karloff and Price. And like those luminaries, he's been in his fair share of schlock. But he's also been brilliant. And lest you think this nomination is a sort of lifetime achieve award, this may be Mr. Combs's most menacing role ever. He's the ultrarich monster we've all come to fear, hosting a dinner party where only one guest can emerge alive from his twisted parlour games. As scary as this character is, the element that pushes the performance into MMM Award territory is how charming he manages to be, despite it all. While Brittany Snow plays the leading lady admirably, it is J-Combs (his hip hop name) who we miss every second he's off-screen. This is Jeffrey's movie. Everyone else is just visiting.

Toby Jones - Berberian Sound Studio



I avoided this movie for a long time, thinking it was called Bieberian Sound Studio, which would be too horrifying even for me. Obviously I made that up. I had heard wonderful thing about this movie and couldn't help but come away a touch disappointed. The first 3 quarters of this movie are amazing, until you realize all that build-up never pays off. The one thing about this film that doesn't disappoint is the lead performance by Toby Jones. I see this actor all over the place, but he hardly seemed leading man material. Not only does he carry this movie, he shows that as an actor, he can throw down with the very best of them. His character is a quiet, gentle soul who is thrown into a snakepit of shady Italian horror filmmakers and backbiting actresses. He does sound design, but mostly for nature documentaries. It's doubtful he's ever watched a horror movie. Half the fun of Berberian is watching him squirm when he has to foley murders and torture. The audience never sees the horrors onscreen, but it's all written in his face.

 

Rob Mayes - John Dies at the End

and

Chase Williamson - John Dies at the End



I had never seen either of these actors before, but both could be huge stars if the right casting directors are watching Coscarelli movies. Rob Mayes as the titular John brings a cool-yet-slightly-hyperactive presence to the film, with his up-for-anything attitude and his roguish charm. In fact, if Disney decides to make a movie about Han Solo's early days, this has got to be the guy. He also has the distinction of speaking the single best one-liner of 2013: "That door cannot be opened!" It doesn't look like much out of context, but trust me, it get a huge laugh every time. Chase Williamson is the yin to Mayes's yang. Or vice versa. But anyway, he's the more serious half of the duo, rarely smiling, constantly exasperated, and somehow equally appealing. As the narrator, he gets more than his fair share of mind-blowingly amazing dialogue. He also gets much more screen time. It's his flat, deadpan delivery that sets the tone for this ridiculous, ridiculously entertaining movie. I think it's fair to say, it would not have been the same film if either of these actors was not in it.

That's it for the dude noms. Now tell me, friends. Who did I totally miss in this category?

Back soon with the nominations for best screenplay.

MMM Awards 2013 - Best Screenplay Nominations

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Simon Barrett - You're Next!



Here's a trick for you. How do you write a slasher/home invasion flick that's both effectively horrifying and truly funny without descending into self-parody? And how do you write a movie that's funny, yet contains no real jokes? Also, how do you write this movie in such a way that if the horror elements were removed, it would still be an engaging family drama? Ask Simon Barrett.  Not only are the characters and dialogue genuine, but the tightly crafted plot unwinds expertly, with each reveal perfectly timed. While I was watching it, the first big reveal seemed to come too soon in the movie. I felt like, I'm not supposed to know that yet, but Barrett knows what he's doing. This information sets up some truly Hitchcockian tension later on. This guy knows his horror, and plays with audience expectations like a true veteran. Here's to a long, productive career, Mr. Barrett.
Best line: "I stuck a blender in his head and killed him."

Moira Buffini - Byzantium

 

Adapting her own stage play: A Vampire Story, Moira Buffini penned some of the most eloquent dialogue even spoken in a genre film. The story itself is relatively simple, yet the way Buffini structures it endows the film with enough mystery to keep it compelling while keeping the central focus on her characters. The device of having Eleanor tell bits of her story to various people keeps the narrative non-linear and allows Buffini to time her reveals with surgical precision. Eleanor and Clara are two very different women with wildly different experiences in their formative years, yet who have been together for two centuries. The fun of Byzatium is that we see these women at a specific point in their lives, get to know their wildly different personalities, and bit by bit, get pieces of insight about what made them the people (okay, vampires) they’ve become. A compelling story, beautifully told.

Don Coscarelli - John Dies at the End


I'm not sure how much of it is Don Coscarelli and how much is David Wong, but I will be quoting dialogue from John Dies at the End on my deathbed. From what I understand, adapting a book as insane and expansive as this took some doing. People who've read it complain that Coscarelli used only about a third of the book, picking and choosing scenes he wanted to include and leaving out major events. To me, this only proves his skill as a screenwriter. Instead of trying to jam everything in, he created something distinctly different, yet in the same spirit as the novel. It's also encouraging to see that someone who's been in the horror game as long as Coscarelli is only getting better while his contemporaries fade from the spotlight.
Best dialogue (aside from "That door cannot be opened."):
David: "Are you familiar with the old human saying, 'I want to shoot you so bad my dick's hard'?"
Roger North: "I don't believe I do."
David: "Well maybe you'll hear it again in the next 24 hours if you don't fuck with me."

 

Chad and Carey Hayes - The Conjuring


The Conjuring is one slick, tightly-crafted thrill ride of a movie. Make no mistake, this is mainstream Hollywood stuff, but it's not the cynical, just-out-to-make-a-buck piece of Michael Bay-produced shit. This is quality horror, lovingly created by people who actually give a shit about making an awesome movie. And while director James Wan gets the lion's share of the credit for the film's mood and pacing, he was building on a rock solid foundation laid down by the Brothers Hayes. They deserve major props just for the decision to not only open with a pee-your-pants-scary possessed doll sequence, but to spring that little bitch on us again in the third act.

 

Alice Lowe, Steve Oram, and Amy Jump - Sightseers

 

Written and conceived by the films two stars, Sightseers is the anti-Natural Born Killers. It portrays perhaps the most low-key killing spree ever committed to film. Tina is a reserved, homebody barely able to stand up to her overbearing mother, while her new boyfried Chris is an avid sightseer with interests as fascinating as tram museums and injection-molded plastics. He also happens to be completely unhinged when it comes to things like littering. Lowe and Oram perfectly capture the mundane details of life as an ordinary, boring couple on holiday, yet infuse the film with violence and gore that leaves you mildly shocked despite your laughter. While it is a comedy with a fairly absurb premise, the characters are fully realized, and half the fun is watching Tina bloom from a mousy little victim into someone in charge of her own destiny. Not to spoil anything, but the last moments of the film are completely unexpected, yet make perfect sense in terms of the characters and their motivations. Sightseers barely qualifies as horror, because it doesn’t even try to scare you, but it should satisfy horror fans who prefer to take their comedy black.

MMM Awards 2013 - Best Director/Best Picture Nominees

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You know how the winner of the Best Director Oscar almost always goes to the director of the movie that ends up winning Best Picture? This is unsurprising, given that the director is the person most directly responsible for the (artistic) success of a film. While I tried to be all contrarian and nominate Rob Zombie for best director, but not Lords of Salem for Best Picture, ultimately I decided to make the nominations the same. The awards, however, will remain separate categories. So without further ado... Noms, Beeotches!

 

Don Coscarelli / John Dies at the End


Among the horror luminaries of the late seventies, who is currently making the best films of their career? If you answered Dario Argento, that’s funny, smartass. If you answered, “None of them,” then you obviously haven’t been keeping up with Don Coscarelli. While Coscarelli is more known for delivering truly strange cinematic experiences than gonad-shrinking horror films, I think we can all agree he plays to his strengths and that it serves him well. More comedy than horror, John Dies at the End is probably the single-most rewatchable film of the year. Coscarelli keeps the pace fast and the one-liners in steady supply. Tonally, the film has more in common with the comedy classics of the eighties (I’m thinking Ghostbusters, Better Off Dead, Weird Science, etc.) than the current Apatovian generation of comedy. It’s not afraid to dip into the absurd, veering into the unexpected at every turn. I also love how Coscarelli has concentrated on creating unique visuals, making this movie his most iconic since the original Phantasm. Hopefully “This Movie is Full of Spiders” is in the works.


 

Neil Jordan / Byzantium


I didn’t see this one in time to nominate either of the two leads in the best actress category, however, please consider both Gemma Arterton and Saoirse Ronan retroactively nominated (swelling the nominees to a heaping 12). Every frame of Byzantium is visually stunning, the performances are impeccable, and the storytelling the work of a veteran filmmaker still in his prime. Like most modern vampire films, Byzantium isn't out to scare anyone. It's a character study that examines human mortality through the lens of mythical immortal beings. As for its vampire lore, it bucks convention in several ways, most noticeably the absence of fangs. These vamps have a retractable thumb claw they use to pierce jugulars. While it seems like a small detail, the effect it has is to make the killings look like murders rather than sexual encounters. And these vampires, while impervious to sunlight, aren't super-powered creatures. They are as vulnerable as the humans they hunt and must rely on wits and surprise to earn their meals. Not only is Byzantium one of the best horror films of the year, it's one of the best vampire films period.

Vampire Gemma turns some dude into a drinking fountain.


Franck Khalfoun / Maniac


Maniac is easily the most horrifying film of 2013. From the shocking opening murder and scalping to the quickly-deteriorating would-be romance that goes terribly awry, this movie feels real, and reality feels gross. What this remake gets right is that Frank Zito can’t go straight from the most out-of-control homicidal freak in the western hemisphere to a super-suave ladies man from one scene to the next, which was the downfall of the original (also, imagining a beautiful, successful photographer would have any interest in a dude looking like Joe Spinell is too much disbelief to suspend). This version of Frank makes much more sense because he’s attractive in Elijah Wood’s non-threatening, boyish way, he’s mostly capable of blending into society, and he shares a very specific niche passion with his love interest, lending the attraction some credibility. Khalfoun’s decision to shoot the movie almost entirely from Frank’s point of view was a risk that ultimately paid off in spades. There’s a side of Frank that clearly doesn’t want to be doing what he does, but he’s powerless to stop. Shooting POV-style with the audience as the killer puts us in exactly this position. We don’t want him to kill all those women, but we’re forced to bear witness. Oh hell, who am I kidding, we’re horror fans, obviously we want him to kill those women, and we even manage to enjoy it, excruciating a viewing experience as it is.



 

James Wan / The Conjuring

Sorry James, my parents told me how babies are made when I was eight.

The Conjuring is the only film on this list that I actually reviewed, so I don’t feel the need to write about it at length (Here’s the review, if you’re interested). I’d just like to note that, for me, half the fun of the movie was seeing how themes and elements from James Wan’s previous films came together so effectively. Prior to The Conjuring, I knew James Wan as a director who made good-but-not-great horror films. I always find plenty to like in his movies, but I’ve never felt like he was getting everything right. However, The Conjuring is the work of a man who has finally mastered his craft. And while we’re losing the man to big-budget action films, I get the sense that he’s not leaving horror with contempt for the genre, but rather a fond, "My work here is complete."


 

Adam Wingard / You’re Next!


 
Did you know that up until You’re Next!, every wide-release horror film to come out in 2013 was the number one release for its respective weekend (with the exception of World War Z, which was #2, but it made more money than most of the #1’s). It seemed like Adam Wingard’s year to hit the big time, and the box office forecasts agreed, predicting it too would open at number one. It was one of my most anticipated movies for two years running; I was desperate to see it and I figured everyone else would be too. And then it debuted at number a miserable #6. This was all the more surprising because it was so freaking good! I figured word of mouth would get out and make it a sleeper hit, but ticket sales dried up quickly and it soon disappeared from theaters. Despite this disappointment, the movie is still a hit, considering it grossed, like, 18 times its budget. But still, I thought it would be this generation’s Scream.



Box office aside, the movie is fast, fun, and rewatchable as hell. It’s not so much a game-changer as it is a sign that the filmmakers doing horror today take their craft seriously and are elevating the genre by injecting it with actual characterization and attention to storytelling. I love Jason Voorhees as much as the next guy, but honestly, even at the time those slashers were seen as throwaway cinematic junk food. And while You’re Next! is a piece of entertainment that doesn’t pretend to have loftier goals, it is a cleverly-conceived, expertly-executed gem of the genre, and a horror fan’s wet, bloody dream.


And the Winners is... MMM Awards 2013 Winners

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Welcome, Whores of Salem, to the First Annual Montana Mancave Massacre Excellence in Horror Awards!



I know all 22 of my readers have been waiting, huddled 'round their monitors for the suspense to be over. Fear not Cavecrawlers! The winners of the first annual MMMies are assembled below and just a'waitin' to receive their prizes. What prizes, you may ask? Each winner will receive, upon written request, a framed printout (from my very own shitty Kodak printer) of the MMMie statuette pictured above. But wait, that's not all. Additionally, each winner will also receive a no-expenses-paid trip to Helena, MT, where they can spend a magical evening watching a hand-picked selection of horror films with yours truly, in the legendary Mancave. That's right, imagine, if you will, the glamour of sitting on my paint-stained hand-me-down sofa and swilling micros from the Blackfoot River Brewery straight from the growler while screening Dawn of the Mummy on my 24-inch VHS/DVD combo TV. I can feel your genitals tingling just thinking about it. So without further to-do... The Winners!

 

The Best Actress Winner is...

 

 

Meg Foster for The Lords of Salem


Go ahead, call it a comeback. I was just too jazzed about Meg Foster's triumphant return to the silver screen that I couldn't help but give her the prize. She owns Lords of Salem. While on set, she had a daily habit of putting Rob Zombie into a headlock and demanding, "Who owns Lords of Salem?" When Rob would concede with a whimpered, "You do," she would only squeeze harder and say, "I do what?" Not until he answered with the appropriate, "You own Lords of Salem Ms. Foster," could that day's shooting begin. But don't feel sorry for the distinguished Mr. Zombie. He loved every minute of it.

The Best Novelization Winner is...

 

 

The Lords of Salem by Rob Zombie and B.K. Evenson

Another reason not to feel sorry for the distinguished Mr. Zombie. He's been awarded an MMMie in a category that wasn't even announced. There was literally no competition in this category, because while there were some novels adapted for the screen this year, I'm pretty sure this was the only honest-to-gods novelization of a horror movie in 2013. It's a pretty fun read too. It was written by Brian Evenson based on Rob Zombie's original screenplay, meaning that it is Zombie's vision for the film before budget constraints and other realities of filmmaking came into play. There are a few scenes I really wish would have made it into the film.  For instance, when they first play the Lords record over the air, their phones start ringing off the hook with women begging for them to play it again, and men who violently hate the song. After each time they play it, a woman in Salem murders her husband or boyfriend in grisly, ritualistic fashion. But for every scene I wished had made it were about 3 things I'm glad he changed in the film. So, if you're obsessed with Lords of Salem like I am, pick this one up for sure.


The Best Actor Winner is...

 

 

Toby Jones for Berberian Sound Studio

 

When I first conceived these awards, I was convinced that Best Actor was going to A.J. Bowen for You're Next! Bowen is awesome in everything, and the subtle choices he makes in it add up to perfect, especially on the second viewing. But the more I thought about it, I became convinced that no other horror movie this year was as completely dependent on its lead's performance than Berberian Sound Studio. And honestly, I was a little disappointed with the film. But I was absolutely impressed with Mr. Jones, who finally gets to be the star of a movie after a career's worth of fantastic character acting.


The Year's Most Pleasant Surprise was...

 

 

Would You Rather?

 

I wasn't expecting much from this one. I love Jeffrey Combs, but his presence doesn't guarantee a movie won't suck. Other than him, the big names were Sasha Grey, who you might know from porn, and Britanny Snow, who starred in the infuriatingly bad Prom Night remake. Well, Ms. Snow completely redeems herself here, turning in a convincing and powerful performance. While there's darker places a movie with this premise could have gone, there was some pretty shocking violence and a banquet full of tension. This one came out under the IFC Midnight imprint, which should have been a tip-off that


The Best Screenplay Winner is...

 


Don Coscarelli for John Dies at the End


There was some stiff competition in this category, but Coscarelli gets the MMMie simply for writing the coolest dialogue since Fear and Loathing in Las Vegas. While Simon Barrett and the Brothers Hayes get major points for their mastery of structure, John Dies at the End is a labyrinth of weird. Around every corner is a scene even stranger, funnier, and more imaginative than the last. And yes, David Wong gets major credit for penning the source material, but Coscarelli took that divine madness and turned it into a funhouse of a movie every bit as addictive as Soy Sauce.

 

The Year's Biggest Disappointment was...

 

Pretty much my expression during the whole movie.

 

The Last Exorcism Part II

 

Now I love a good slow-burn horror movie, but this one was more of a no-burn. And I'll admit I didn't make it to the end. The Last Exorcism Part 2 bears the distinction of being the only film that's ever made me walk out of the theater. So, I guess there's a chance it got really good in the last 15 minutes, but I can't imagine sitting through the first dismal 75 again just to get there.

The Best Director Winner is...

 


James Wan for The Conjuring



I'm just uber-impressed with how far James Wan has come as a filmmaker, and since this may be the last opportunity I'll have to give him an MMMie, I took it. Who knows, he might delve back into horror again someday, but I expect it will be a good long while. Cheers, Mr. Wan, I'm looking forward to subjecting you to Shriek of the Mutilated when you finally make it 'round to the old mancave to collect on your prize.

Special Achievement in Gore Award goes to...

 

 

 

If a picture's worth a thousand words, an animated gif is worth, like... more.

Evil Dead

 

While it didn't make the cut for my top 5 best horror films, I really enjoyed Fede Alvarez's gruesome remake of Evil Dead. I suppose the film was just too light on character to push it to the top of my list, but the special effects kicked every other film's proverbial ass. This one's really fun, and I'm glad most of the initial naysayers came around.


But now, it's the moment a couple of you might have been waiting for...

And Winner of the First Annual MMM Excellence in Horror Award for Best Picture is...

 



You're Next!



I've been firmly aboard the Adam Wingard bandwagon since I saw A Horrible Way to Die, and many of the same things I love about that film are the very reasons I'm so enamored of this one. The characters and dialogue are very natural, very believable. While I don't always like them, I always relate at some level, or at least recognize them in people I know (okay, except for the psychos). I think the newly-dubbed mumblegore subgenre does everything that found footage movies are trying and mostly failing to do: adding that level of realism that makes the film all the more frightening. At times, particularly during the dinner scene, if feels like it could be a documentary of a real family, and it does it without having to explain why one of the characters never puts the camera down. Khalfoun's Maniac also achieves this, and is certainly more disturbing than You're Next! In fact, it was originally going to win the Best Picture MMMie, but after rewatching them both, You're Next! had the edge. Maniac is a great horror film that's easier to appreciate than to love, but You're Next! is a perfumed love letter sealed with a big, wet smootch to horror nerds everywhere.


Bonus List: Top 5 Kills of 2013 
As the credits roll on the first annual MMMies, here's a list I wrote that originally appeared on the If We Made It Podcast. It's way better when you hear those guys read it aloud, but in case you prefer the written word, here 'tis:

Marvin the Macabre’s Top Five Movie Kills of 2013:


#5 – The Blender Kill from You’re Next

So, You’re Next is going balls-out, blowing everyone’s tiny minds with homicide after brutal homicide, and the next thing you know, it turns full-on ridiculous when Australia's sweetheart Sharni Vinson jams a broken blender into a dude’s skull and plugs it in. Now, I know the homeowner is a former defense contractor and can probably afford a top of the line blender, but the human skull is somewhat thick. I’m calling bullshit.

So why does it make my top kills list?  Because it’s the set-up to the year’s second greatest line of dialogue:

A.J. Bowen: “Where’s Felix?”

Sharni Vinson: “I stuck a blender in his head and killed him.”

It doesn’t look like much on paper, but it’s all in the delivery. (The year’s best line, by the way, is “That door cannot be opened!” Again, it doesn’t really work out of context.)

#4 – X is for XXL from The ABCs of Death

The ABCs of Death is a wildly uneven compilation of shorts that range from dumb to boring to hilarious to truly disturbing. The cumulative effect of 26 batshit horror stories delivered rapid-fire was to make me honest-to-god sick to my stomach. A lot of that had to do with Xavier Gens’s third-to-last segment, X is for XXL. In it, an obese girl who gets picked on for her weight takes matters into her own hands by carving herself into her ideal shape. It takes some effort not to gag during this one.

#3 – Opening Kill from The Thompsons

So there’s this couple about to get it on in the woods, then they stop because they see someone watching them. Then they start hearing these weird sing-songy chants coming from different directions. They decide to get the fuck out of there, but too late--they're already being chased by two masked men. The masks turn out to be severed human faces. When the murderers catch up to the couple, they force them to continue the show, making them strip down and have sex in front of them. Then, mid-coitus, one of the psychos starts stabbing the dude in the face. Blood pours out onto the screaming girl as her boyfriend’s face is removed. It’s times like these I really have trouble justifying my taste in movies.

#2 – RedLucie86 from Maniac



It was difficult choosing just one kill from the incredibly violent, incredibly awesome Maniac. But RedLucie’s death really packs a punch because as an audience, we experience the whole thing, from the intial online chat to the date, followed by the seduction and finally the murder, through the eyes of her killer. I don’t know about you, but I was charmed by her during the date, and I was seduced by her afterward. And there’s no surprise that she’s going to die—we knew that from the beginning. There’s just this growing dread as the date goes on, and the more we start to like Lucie, the greater the dread becomes.

The murder itself is a simple strangling, but the pain on Lucie’s face is almost unbearable. And to top the whole thing off, we are treated to a graphic scalping that I’m not sure I’ve ever managed to get through without looking away. That’s right, for a hardcore horror geek, I’m kinda squeamish.

#1 – Jane Levy Chainsaws her Deadite Doppelganger in Evil Dead

For pure, unadulterated, gleefully-rendered gore, 2013 saw no film that came close to Fede Alvarez’s Evil Dead. This one turned the violence and viscera up to 11 within the first half hour, so how do you top that? With a climax that literally rains blood and features the most over-the-top kill in recent memory. Our heroine faces off with the deadite version of herself, and chainsaws her in half from the guts straight through to the top of her head. The cherry on top comes when we see the vanquished deadite on the ground, splayed out in two halves with her eyes still twitching. Just magnificent.

Honorable Mention: Marconi Meets the Meat Monster from John Dies at the End

I couldn’t let this list go without paying respect to the badassness that is Clancy Brown as Marconi. He manages to make a demonic manifestation explode with a phone call, proving that Clancy Brown is God’s favorite human and reminding us that he will always be cooler than us, even when he’s just phoning it in.





Reconsidering Uwe Boll: Part One - Rampage (2009)

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“How can you not have heard of this movie?”
My soon-to-be brother-in-law explained that Rampage was exactly my kind of movie. A dude makes his own body armor and goes on an epic shooting spree. First he bombs the police station so the town’s first line of defense is in tatters, then he stalks the streets, going from building to building to take out everyone hiding inside. The few remaining police arrive and open fire, but it's useless. He mows them down and continues the massacre, specifically targeting people who had pissed him off, but also taking out any and everybody along the way. My kind of movie indeed. It sounded nearly identical to a short story I'd conceived of years ago, but never got around to writing. I was intrigued. How had this one sneaked past me?


He pulled the movie up on his laptop as I giddily waited for the mayhem to begin. Ominous music plays over production company credits, then an abstract out-of-focus shot of some trees. A shitty car pulls into a turnout in the woods. More credits. White text on a black screen punctuated by bits of movie. A young man gets out of the car and takes off his black shirt. Dang, I know that actor, but from where? More credits. Now he's throwing his clothes into a metal barrel and dousing them with gasoline. It's nearly one minute into the movie and I'm far too excited about what is to come. The ominous music continues to slowly swell... and then the horror begins. Another credit suddenly appears, staring me in the face with a sinister smirk. That most dreaded of credits: An Uwe Boll Film.

My expectations plummeted. One minute I'm anticipating a hitherto unknown masterpiece; the next I'm preparing for a joyless slog through an incompetent, exploitative mess of a film that I'd have to pretend to like. That or tell my future family member he has deplorable taste in movies.

Totally understandable if you assumed Uwe Boll's Rampage was a live-action adaptation of this.

Then the miracle. Despite everything I thought I knew about Uwe Boll, the crowdsource-crowned Worst Living Filmmaker and modern-day Ed Wood, I fucking loved it! This new Rampaging Boll is utterly unrecognizable from the hack who churned out tax-shelter video game adaptations for the better part of the aughties. This was the single most hated director of our age. His reviled name is synonymous with the worst kind of schlocky movies, not the kind that are so bad they're good, but the kind that are so bad that they make you angry for having wasted your time. Just what was going on here?

I'm still not sure what to think. Has Boll been unfairly judged all along? Did he actually improve as a filmmaker but nobody noticed because they were too busy hating on him? Or was this just some weird fluke and he made a decent film on accident? Let's examine some of the evidence, find out what exactly made Rampage so good, and see if we can surmise some answers.

The Cast


All the performances (aside from the inappropriately calm barista) are uniformly good, from Matt Frewer’s well-meaning, but over-bearing father to Shaun Sipos’s YouTube-ranting, all-talk, coffeeshop revolutionary. But the true standout is Brendan Fletcher as the shooter, Bill Williamson. I remember him giving a solid, awkwardly creepy performance as a mentally-challenged person in Terry Gilliam’s Tideland, but mostly he’s one of those where-have-I-seen-him-before character actors you vaguely recognize but can’t quite place. Not anymore. Watch Rampage and you’ll start recognizing him left and right. Pop in Freddy vs. Jason and you’ll be like, “Oh shit, Brendan Fletcher’s in this? Oh yeah, he was my favorite character in this movie, why didn’t I remember him?”

As Bill Williamson, Fletcher has an awkward charm. When he's passing as normal, he's polite and reasonable, though the cracks start to show when he gets confrontational. He's also a classic wiseass with a comeback for everybody. Even in the middle of the bloodbath he'll crack an ironic, deadpan joke. But he’s also a ticking time-bomb of rage, furiously pumping iron while listening to a barrage of alarmist news stories and AM radio doomsayers. And woe be unto him who screws up his Macchiato. In the excerpts of his YouTube manifesto, Fletcher's reptilian eyes are off-the-scales creepy, and his unfazed demeanor during the shootings is chillingly real.



The Style

The dialogue in Rampage is mostly improvised, giving the film a naturalistic feel and ensuring the actors aren’t just rattling off stilted script-filler that could risk turning them into cardboard placeholders rather than fully-realized characters. The camerawork is handheld, which will be off-putting for those bothered by the technique, but I thought it was fittingly chaotic. The first 3rd of the film is all character and dialogue-driven preamble to the massacre, which will be boring for those looking only for a quick fix of blood and guts, but this is important stuff. When something like this happens in the real world, that’s the first question everybody asks, “How could anyone do this? What drove them to commit these atrocities?” A film like this attempts, at least partially, to answer this question. Then it walks you, in graphic detail, through the Hell that ensues.

Is it exploitation? 

A resounding Hells-Yes! But is that all it is? All horror movies are, by definition, exploitation films because they exploit our fears. They use violence, or possession, hauntings, disease that deforms our bodies, or even muthafuckin snakes on a muthafuckin plane to simulate the fear we would experience in those situations. In a way, all movies are exploitative, as they manipulate our emotions, from love to sadness to anger. There may be an element of “Too soon,” distastefulness to Rampage, and the cynics among us might chalk it up to a cheap attempt to cash in on real-world tragedies. But fuck that noise. This is horror at its most potent. In the 80s, it was all slashers, all that time, and why not? This was the era of Richard Ramirez and John Wayne Gacy. There was a very real fear that some psycho could chop you up and store you in their basement freezer. But ever since Columbine, our national fear has shifted to mass murder in crowded places. The closer to reality a horror film gets, the more potent it is, and honestly, the more important it is as art.

The Meaning

Why does Bill Williamson do it? He has his reasons, which he states explicitly in the end, but Boll shows us not only the killer's words, but his world. He is constantly disrespected by his parents, his boss, his goddamned barista, and even the waitress at the chicken restaurant. He fills his hours in the echo chamber of negative sensationalist media coverage, warping his perspective. But to be fair, there’s a lot of truth in that same media coverage. So much inhumanity and indifference. A pervasive cultural malaise that can actually infect a susceptible person and prey on their violent tendencies. This ain’t no House of the Dead. This is genuine cultural commentary. It’s actually surprising how few movies have been made about mass shootings, given their pervasiveness in American life. And true to form, no one dares show it as unflinchingly as Uwe Boll.

Favorite scenes

To be perfectly honest, as much praise as I’ve heaped on this movie, much of the titular rampage comes off as rather clinical. There’s so much violence it becomes numbing. It is only in those moments where the killing-spree slows down and focuses on the victims as individuals that we really feel the gravity of the murders. As such, here’s a rundown of my favorite moments (Minor Spoilers ahead):

Reloading
Bill has machine-gunned down dozens of people in the streets and they have finally scattered and found shelter. One unfortunate woman is boxed in with nowhere to hide. As Bill is reloading, he spots her and says congenially, “Oh, hi. Scary shit, huh?” Then as he’s popping in a fresh clip, “Here we go,” and guns her down from ten feet away. It’s brutal.




The Beauty Salon
The streets are empty and everyone’s in hiding, so Bill’s got to go looking for them. He enters a Beauty Salon, herds the employees and patrons into a corner and has himself a little breather. He takes off his helmet and has a drink of water while the terrified women plead for their lives. He responds by mocking them with, “Chirp chirp chirp chirp,” effectively saying they’re merely a bunch a pretty little birds and nothing they can say will get through to him. You can guess how the scene ends.

The BINGO Parlour
Skip this section if you haven’t seen the movie. I really don’t want to spoil it.
Bill hits the jackpot with his next stop, A crowded BINGO parlour where the docile retirees could triple his body count in two minutes. But there’s no screaming, no panic. No one bats an eye at him. He briefly terrorizes the clerk at the snack counter, then goes on to snatch a BINGO ball and calls out the numbers, ensuring that everyone finally notices him. But still, no fear, hardly a change in their facial expressions. Then he just quietly leaves, muttering, “You guys don’t need my help at all.” Classic.


Is this a fluke?

That’s what I had to wonder as soon as the credits rolled on Rampage. Maybe the quality of the film had less to do with Uwe Boll than it did the acting chops of the cast. Brendan Fletcher served as co-producer, so his contribution is unquestionable. The one and a half Boll movies I’d seen before this (I turned off House of the Dead halfway through, and thought Bloodrayne was a goofy-but-enjoyable guilty pleasure) suggested I shouldn’t give too much credit in the direction department. Then I watched Seed, a film Boll had made two years earlier. Seed is deeply, perhaps even fatally flawed, but absolutely powerful in its nihilism. In short, a movie that sticks with you for quite awhile. So I have to conclude that no, Rampage was not a fluke, and the trajectory of these four films suggests a Uwe Boll that has vastly improved as a director, and is no longer worthy of the internet’s ceaseless ridicule. But I want more evidence. I’ve got to figure out this enigma. I must immerse myself in this man’s filmography and try to separate that gr-Uwe from the Boll-shit.* Won’t you join me?

*Okay, this joke only works if you know the man’s name is pronounced “Ooh-vay Bull,” if then.

New Review: Deliver Us From Evil

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Oh, you thought I meant here. No, the review is up on From Midnight with Love. Please check it on out.

Also, forgive me for slacking on the Uwe Boll-fest, there have been personal matters. Next up is Seed, then probably Stoic. To tide you over, here's some papier mache jack-o-lanterns I made last Halloween.






Jasognome - One of my horror-themed garden gnomes.




What's in Your Slasher Survival Kit?

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My first thought, upon being contacted by Man Crates to dream up my ultimate horror crate was:


But that's not exactly what they were looking for. Man Crates is a company that puts together manly gift crates that must be opened with a crowbar. The themed crates range from customized bar sets to zombie apocalypse survival kits. They challenged me to concoct a crate specifically designed to help you survive a horror movie. They didn't offer me any kind of compensation in return, but I decided to go for it because A) They're a really cool company and I'd be super stoked to receive any one of their crates as a gift, and B) Because it sounded like fun.



The topic was really wide open, so to focus this post, I've given myself a few ground rules:

1) The crate will be specific to surviving a SLASHER flick--there are way too many horror subgenres to create an all-purpose kit, and I wouldn't have the first idea of what to put in a violent haunting kit.

2) No weapons--Sure, that would be the first thing you'd want, but it's too easy. Sure, I'll take a flamethrower, a Desert Eagle for each hand, and a box of grenades. Sorry, but the real horror movie survivor needs to improvise their own weapons.

3) I tried to make it plausible that Man Crates could actually put all these items in a crate. Therefore, no jetpacks, no crotch rockets, and no magic wands.

4) I wish to stress that because most slasher film survivors are female (final girls, if you will) please consider this a (Wo)Man Crate as well.

Without further ado, I Present the Montana Mancave Massacre Mancrate:

Item #1: LED Flashlight



So, this is a slasher movie--obviously it's going to be dark, most likely you'll be in the woods or at least an unfamiliar place. Sure, the dude coming at you with a branch saw is dangerous, but do you realize the amount of damage you can do to yourself bumbling around in the dark? A light source is a must.

But wait, there's more! If you've been keeping up with flashlight technology, you're probably aware that modern LED flashlights can pack a whole lot of blindness into a tiny, energy-efficient frame. Go with a flashlight of 2000 lumens or more and you'll blind that maniac, giving you a much-needed advantage. Seriously, shine this puppy directly in their eyes and they'll be seeing spots for a good 15 minutes.

Let's not stop there. The Cree flashlight pictured above also has a waterproof casing of aircraft-grade aluminum, 5 brightness modes, 4 metal spikes for self-defense, and an alarm to alert people to your location. Or if you want to get hardcore and go hands-free, you could always go with the 5000-lumen headlamp.

 

Item #2: Make sure to bring your CAT


That's Combat Application Tourniquet, and when the guy wearing your best friend's face as a speedo hacks half your hand off, you're going to want to stop the bleeding ASAP. Well friend, that's the magic of the CAT. It goes on quickly and you can do it with only one good hand.

You'll want to select a brand that goes on the same way for both arms and legs, because seriously, when you're bleeding to death, you're not going to remember two separate application techniques.

Also, in the spirit of improvised weapons, you could probably strangle someone with it.

That's all well and good for your extremities, but what if you get stabbed in the gut? That leads us to:

Item #3: Quick Clot


There's a good reason cops and soldiers carry this stuff on them at all times. It will save your freakin' life--simple as that. A roll of QuikClot gauze contains an inert mineral called kaolin that initiates blood clotting and can achieve hemostasis in as little as 3 minutes.

Do be aware that this is a temporary measure and you won't have all night to get to the hospital. It will save your life if you suffered your grievous wound while luring your pursuer into an industrial meat grinder. But if he's still giving chase after you've found time to apply QuikClot, you may not have much fight left in you.

Item #4: Cell phone signal booster


Want to avoid those deadly cat and mouse games altogether? Try packing one of these sweet babies.

We all know the killing won't start until you're safely within a cell phone dead zone. Here's where you turn the tables on your own personal Leslie Vernon. Sure he's planned your slaughter oh so carefully, mapping out the exact limits of the cellular reception in his killing grounds. But did he consider every angle? This might just give you the advantage you need to survive.

Call a tow truck and GTFO before he can even unsheath his elk-gutter.






Item #5: Survival Knife


Look, I know I said no weapons, so consider this a tool. 

What, are you going up against a machete-weilding ex-wrestler with this tiny pick-stick? Hells no. But might you use it to cut through your duct tape bonds? Certainly. Could you possibly sharpen a stick into a lethal spear with it? Why yes! There are literally millions of uses for a blade beyond driving it through your would-be killer's pig mask.

And as a bonus, you could also drive it through your would-be killer's pig mask.

This particular survival knife comes wrapped with a length of all-purpose paracord (another must) and a fire-starter tool.

Item #6: A good pair of gloves


Never underestimate the importance of your fingers. When all else fails, you may find yourself pummeling your assailant with only your fists. Your fingers will get bloodied, bruised, and possibly broken. And have you ever seen a horror movie survivor defeat the villain with punches? Never. You'll have plenty more escaping to do after the fisticuffs, and if your hands are through, so are you. I recommend finding yourself a good pair of tactical gloves with hard polymer knuckle plating and cushioned insides to keep your hand in one piece.

If you're not into fist fighting, you're still going to have to do some grabbing, grasping, and climbing on all sorts of unpleasant surfaces. And how many times have we seen someone grab the edge of a door only to have their hands slashed? Well wouldn't you know it, that's what steel mesh gloves are for! Okay, so actually their often used by butchers to avoid flaying themselves open, but if it's good enough for meat-cutting professionals, it should certainly work for you in a pinch.

But seriously, why mess around? Go whole hog and get yourself a nice pair of slash-proof sleeves. Remember, unprotected skin is a slasher's playground.

Item #7: Knee/Elbow pads

You may view these as inessential, but when you're doing a marine crawl through a tunnel filled with splinters of human bone and teeth, you'll thank me for it.


Item #8: Tactical goggles

The one piece of gear that is absolutely essential if you find yourself in a Lucio Fulci movie. Eye trauma was the man's bread and butter. They also protect your eyes from arterial spray should the person next to you have his throat slashed. Add a steel mesh face mask if you want to look super-intimidating (although I'm not sure Jason's going to be deterred).

Item #9: (Optional) Foldable Grappling Hook


Let's be honest, you've always wanted one of these daddies.
Batman's got one, you're gonna want one.



While this might not be the most useful item in your personal bug-out bag, it will be just the ticket when you are trapped in a pit and told to put the lotion in the basket. And as survivalists everywhere will tell you, it's better to have a grappling hook and not need it, than need one and not have it.

Item #10: (Extremely Optional) Autograph book


If you can survive a night with Michael Meyers AND manage to escape with his autograph, there's a horde of horror fans who would pay top dollar for it on Ebay. If you've got to go through Hell, you might as well make some scratch off it.

And there you have it. Now let's all sit back and pray that the good folks at Man Crates actually make this an official crate. And send me one. 




Canary - A MMM Original Short Story

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It's been ages since I tried my hand at fiction, but when the challenge came, the possibilities were just too enticing to pass up. The challenge came from Chuck Wendig at his blog Terrible Minds. Participants were asked to post a story of 1,000 words or less. The story was to be a superhero story mashed up with another subgenre of your choice. First on the list was Splatterpunk Horror. How could I resist?

Let me know what you think in the comments. Unless, you know, you didn't like it.


Canary
by Marvin the Macabre

I write this as an act of desperation, aware it is probably my death warrant. But the world must know. After all, that’s what he really wanted me for: A witness. Why else would the world’s most mysterious, solitary crimefighter sign up for the sidekick mentoring program? And why are my duties limited to carrying his gear and cleaning up blood? I was at the top of my class at Sidekick Academy for fuck’s sake! Voted most likely to graduate directly to the rank of crimefighter! But no, I wanted to do things the right way; to learn from a legend. When The Jaguar choose me, I almost wept with joy.

Then I met him. There was something wholly unnerving about his gaze. Like he was looking down on some lesser being. I chalked it up to the refined art of intimidation. The beaten, bloodied criminals he took down never failed to mention those eyes.

My first days at Rothman Estate (did I mention his secret identity is Elias Rothman, spoiled rotten heir to the Rothman biogenetic fortune?) were a lesson in humiliation. The first thing he did was strip me of my name. Inspired by Jaguar, I had cultivated an identity that bespoke power and tapped into that archetypal energy. I was the mighty Kodiak.

“You ain’t no Kodiak,” he mocked, “not even a cub. You want an animal name? Fine. You’re Canary.” Even as my stomach revolted, I made no outward sign of my displeasure. I assumed he was breaking me down to build me up again. I knew I’d been getting an ego at academy. Excelling at everything and outperforming your peers by a factor of three will do that. So I accepted his training methods as painful, but necessary. Thing is, after five years he hasn’t even attempted to teach me anything.

I think Ubermensch is on to him, at least a little. There’s little trust and no love between them. As for Mr. Mind, he’s a complete fraud. I stood not five feet away from him, my mind screaming RESCUE ME! and he just walked away with a tiny nod and an oblivious grin. Mostly Jaguar keeps me away from the other supers. He’ll see one coming and order me to some menial task a safe distance away. He refuses to join the Crimefighters Coalition for obvious reasons.

I’ve known for years that Jaguar had crossed a line, but I thought I could tough it until the end of my apprenticeship. That all changed last night. In the past, it’s always been criminals. Filthy fucking murderers and rapists so reprehensible that a court of law almost seems too good for them. Almost. But last night when I saw that glint in his eye and his teeth-bearing half-smirk, I knew it would end badly.

As usual, we were parked in the Jag-Car listening to the police band radio when he heard about a noise complaint at a frat party. “Three blocks away,” he said, “Let’s roll.”

As he stomped his accelerator to the floor, I objected, “It’s a noise complaint Eli, shouldn’t we wait for…”

“Not while I’m in costume!” he barked.

“Fine. Jaguar, for Christ’s sake.”

He slammed to a screeching, smoking halt. “Take the Lord’s name in vain again and I will fucking END YOU!” he shrieked, so completely unhinged that I couldn’t even stammer out a “Yes Sir.” After glaring at me for a good 30 seconds, he pulled the car to the curb and turned off the headlights.

“There it is.” He pointed to a white two-story half a block away. “We’ll wait until the police have come and gone.”

“Couldn’t we just leave it to the police?” I asked, the timidity in my own voice disgusting me. He responded with an elbow to the teeth. We waited. I bled.

As soon as the responding officer left, we walked in the open door. Jaguar was careful to shut it behind him. Inside, the music was back to blaring. It was one of those Heaven and Hell parties. The upstairs was decked out in billowing white sheets and feathers, while cleavage-bearing angels served crystalline liquors from sparkling shot glasses. The basement would be a red-lit S&M den with sorority girls in leather domination suits slinging Hellfire shots from between their breasts.

Jaguar flung a throwing claw into the stereo, reducing the pounding dubstep beat to a sparking electric white-noise drone. After a collective “What the fuck, bro?” the place fell silent under Jaguar’s bestial presence.

“There’s drugs here,” he announced. “You’ve got one chance to turn them over.” He stared them down, his gaze so commanding that those nearest instinctively emptied their pockets, producing near-empty bags of herb, pipes, and a tiny vial of blow. Jaguar extended his clawed hand as if to accept the contraband, then lashed out with a roundhouse kick to the face. The scrawny stoner stayed down, so Jaguar headbutted the next in line. Blood exploded from the jock’s nose, covering Jaguar’s mask with a red mist. He grinned. His glare penetrated deeper into the crowd. “There’s more,” he demanded.

No one dared come forward. All were silent save the tearful pleading of some hipster with a Jew-fro. It was nonsense. The standard ”Don’t hurt me I’ll do anything you ask” gibberish.

“Cut yourself,” said Jaguar.

“What?”

Jaguar tossed a blade at his feet. “Cut yourself,” he repeated. The hipster hesitated. “Pick it up,” demanded Jaguar. He did as he was told, raking the blade haltingly across his forearm. “Not there,” said Jaguar, “your throat.”

“What?”

At this, Jaguar unleashed an ungodly howl and slashed with his claws, tearing half the boy’s throat out. His head lolled forward as the arterial spray doused a dozen partygoers. Jew-fro slumped to the floor, his head offset from his neck at a sickening angle. Screaming erupted and the stampede began. Jaguar bellowed above the din, “Do you WANT another noise complaint?”

Some people think Jaguar’s claws are fake, something he fashioned himself. They’re half-right. The claws are real, but he also made them. Biogenetics empire, remember? Eli began his career with clawed gloves, but they didn’t satisfy him. He wanted to feel the muscles tear beneath his fingers. He wanted to kill, not with tools and gadgets, but with his own body penetrating the flesh. His kills used to be quick and efficient, but tonight he toyed with his victims like a housecat.

He grabbed one of the fleeing fratboys and shredded his neck lengthwise. He slashed at it over and over until the last threads of flesh tore free. He held the dripping head high, presenting it to the crowd. “DRUGS KILL!” he shrieked. Then he grabbed the nearest girl and slammed the severed head into her own repeatedly. The sound of bone fracturing quickly gave way to the wet slurp of blood and brain.

Even as he attacked, Jaguar expertly kept his body between the crowd and the exit. When they made for the back door, he commanded me to guard it. I made for the back of the house, if only to escape the carnage. People were trickling out onto the back porch, but in the madness of escape, it was becoming clogged with half-trampled bodies all clawing at one another to get to safety. I tried to keep order. I even broke out the back window for them, but only a few more escaped before the opening became a jammed-up writhing mess of panic.

Jaguar finished up in the front room and made his way to the back. He chuckled at the sight of the human traffic jam, then took a running start, and slammed his shoulder into them. Did I mention that Jaguar has superhuman strength? Nothing like Ubermensch, who can throw trains, but more like a gorilla. It was more than enough to snap ribs and crush internal organs. Injured bodies piled in front of the door, and Jaguar jumped up and down on them like it was some demented bouncy house. The blood and piss flowing from beneath the pile of bodies flooded the kitchen floor, nearly to the stairwell.

Oh shit the basement! The music was still pounding from below. They had no idea what was happening here in Heaven. While Jaguar was distracted, I searched for another staircase out of his sight. When I got to the main room, the sight dropped me and I puked onto the viscera-strewn carpet. But I picked myself up and soldiered on, stepping carefully around the still-twitching bodies. With each step, I could hear the squish of the blood-saturated carpet. It was already soaking into my shoes.

There was no second staircase, and Jaguar invaded Hell before I could warn them. Jaguar unseated the party’s “Satan” from his infernal throne and installed himself there. Anyone who tried to scramble up the stairs took a throwing claw in the back. Once Hell’s denizens knew they were trapped, the Underworld’s new king began his reign.

As much as I want to reveal this monster’s depravity to the world, I’m unable to detail the events that came after. Even now my mind attempts to erase them from memory, my sanity’s final effort to save itself. Suffice it to say that Jaguar commanded his subjects to inflict incomprehensible cruelty on one another, and not one of them left alive.

As per usual, Jaguar left a calling card indicating the slaughter took place at the hands of some super-villain. When the police arrived, he made a show of desperately searching for survivors. They always believe that schtick.

I wondered who he’d lay the blame on this time. Surely not one of his old stand-bys.  Mr. Twisted was in jail. Necro Joe has “thrown himself” off of a parking garage. None of the others would have been capable of the atrocities the police would discover. So he made up a new one. When the police arrived, they found, placed just outside the front door, a tiny wire cage containing a dead canary.

I can hear the steel-reinforced clunk of his boots on the floor above me. Oh God, I think he knows I tried to help them escape. I’ve written my confession, but how will it ever find its way out to the world? I only hope justice finds a way.

Advent of Atrocities Challenge

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I don’t have to tell my frustrated followers that I don’t write enough. My output for the last 2 years has been nothing short of pathetic. Meanwhile, my list of kick ass horror movies that I’m just dying to tell people about grows ever longer. Here’s the problem: I always feel like my blog entries have to be grandiose, well thought out, and contain tons of screen caps that take hours to get. By these standards, blogging becomes too daunting, and I throw on a flick instead.

Which is why I’ve cleverly chosen the busiest time of year to set a challenge for myself: An Advent Calendar of Atrocities. Each day in December, leading up to Christmas, I will post a blog entry on a great horror movie I’d like to share with you fine folks. Some days they might be a paragraph recommending something. Other days I might run off at the fingertips, gushing for 2000 words about some flick that has captured my imagination.

That’s 24 days of tiny, bite-sized gifts for you. And if any of y’all are feeling the spirit of the season, I challenge you to create a blogging advent calendar of your own, and we can totally cross-linkify.

Should I fail this challenge, may the Krampus roast my chestnuts on an open fire. Now let the holiday giving begin!

Marvin Out

Advent of Atrocities - Day1: Found.

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"My brother keeps a human head in his closet."

Now that's my kind of opening line! But I didn't appreciate it right away. I knew the concept behind Found: What if a 12-year old horror movie fanatic found out his brother was a brutal, slasher-style serial killer? I was kind of disappointed that there was no build-up to his discovery. No emotion. Just a monotone stating of the facts.

My disappointment was misplaced. Found knows what the hell it is doing.

There's a blurb on the DVD cover from Elvira, Mistress of the Dark that describes the film, "As horror as horror can get." This 6-word summary pretty much renders my review unnecessary, but then, I never claimed to be necessary.

At it's heart, Found is a family drama with a focus on characters and relationships, a rare enough commodity in horror, almost unheard of for a slasher. One could argue that Found isn't really a slasher at all, since it bucks most of the genre's conventions. The body count is low, we don't actually see the majority of the murders, and the masked killer is revealed, maskless, at the beginning of the film. So if Found is not formally a slasher film, it at least was conceived and executed by filmmakers with a deep and abiding love for the genre.



I found out about Found at Beyond Hollywood, a movie site dedicated to highlighting foreign and genre films. It's based on a novel by the site's editor, Todd Rigney, who I've been reading for years. And let me tell you, the man has impeccable taste in movies. And he's done what I've only dreamed of: taking his expertise in cinema and creating his own movie. And a hell of a great one at that.

Found is the hardcore horror hound's horror film. Set somewhere in the late '80s/early '90s, the movie will give viewers of my generation the added treat of nostalgia for making the trip out to an honest-to-gods video store, complete with the lurid VHS covers in the horror section, situated right next to the becurtained adults-only closet of mysteries.

The most slasher-like part of Found is the movie-within-a-movie, Headless, which looks and feels like a genuine late 70's exploitation film that was slightly too underground to make it to the shelves of your local Blockbuster.



I'm the world's biggest sucker for coming-of-age stories, even the sweet ones. But throw in a macabre element and I'm in Heaven. Stand By Me, comes to mind, along with Hearts in Atlantis and Joyland. But honestly, Stephen King has never made anything this dark and outright disturbing. There's always an element of heartbreak in coming-of-age stories, and Found taps into that sadness expertly. Marty, the film's narrator and protagonist is in fifth grade and struggling to reconcile his adoration of his older brother Steve with his newfound knowledge that Steve is a serial murderer. To complicate things, both Marty and Steve are huge horror fans whose shared love of horror films is their one real point of bonding. So when Marty finds out that his brother's life is basically a horror movie, he can relate on some level. The thought of turning him in to the police never crosses his mind, even though he is a caring and sympathetic kid. As he's holding one of his brother's severed heads in his hands (he's not bad, just fascinated by death), he thinks, "At one point, it had thoughts and feelings, and it kissed somebody it loved. Now it's just a bloody head in a bowling ball bag."

The two brothers' relationship is central to the film, and while we're obviously supposed to sympathize with Marty, the movie goes out of its way to also paint Steve in a somewhat sympathetic light. We know from the film's first line that he's a psycho killer, but he's no faceless Michael Myers. No embodiment of pure evil. He's crazy, for sure, but capable of caring about people. Half the film's tension comes from wondering how far his love for Marty extends and whether he'd ever intentionally hurt him.



Now is the time to warn you that Found is extremely low-budget, which shows from time to time in the props and the performances. Look past it. There are no out-and-out bad performances in Found, just the air of inexperience surrounding some of the actors. Ethan Philbeck as Steve, for instance, has no other acting credits to his name (at least according to IMDB) and his inexperience shows. But that doesn't stop him from being super-creepy in most scenes and downright terrifying in the end.



The end. What can I say to express the sheer horror of this film's ending? You know, right from the opening moments, that this is a story that can't end well. The majority of the film's run time is spent making sure you care about the characters, and then... fan, meet shit. I must applaud Found's use of male nudity to amp up the ickyness factor sevenfold, as well as its determination to make the viewer do all the nasty work of imagining what we're not seeing. Then the final shot... FUCK. Just FUCK.



So if you don't mind your horror low-budget and you love it degenerate, soul-crushing, and nasty, go tell your boss you're sick ('cuz I know you're reading this at work), go home, and stream this from Amazon ASAP. Better yet, order the DVD because it's less than 8 bucks, and it comes with the full, uncut versions of two of the movies-within-a-movie featured in the film.

When you're done, come back and thank me profusely in the comments.

Advent of Atrocities-Day 2: Stage Fright (2014)

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If you're of the opinion that the concept of a Horror Musical is just too goofy to work, you're absolutely right. The genres are too at odds to play together and create anything but an unwatchable mess. But throw in a 3rd genre, and you're on to something.

Stage Fright is a Horror-Comedy-Musical that works precisely because the horror is dialed down to the point where it's not actually a horror film, but a horror-themed musical comedy. While there's nothing scary about Stage Fright, there is some pretty decent gore that will keep the sickos among us happy.


What's most surprising about Stage Fright is how well is holds up as a musical. The songs are insidious ear-worms that get lodged in your brain for weeks at a time. I've spent the last five days spontaneously bursting into the refrain, "I'm gay, I'm gay, but not in that way." And the film's lead, Allie MacDonald sings the living shit out of her songs. Stage Fright even boasts an opening starring the all-singing, all-acting Minnie Driver, who suffers a wonderfully horrible murder in her dressing room.


Stage Fright takes place at a youth theater camp called Center Stage that is run by Meat Loaf Aday, which is, of course, the mark of quality. Theater geeks should be just as into this movie as horror geeks, because it directly caters to them. Center Stage is populated by theater-geek caricatures who have found their refuge, a place where they are free to express their innermost selves without fear of abuse from peers and parents. Then, of course, the fear begins.


One of the movie's cleverest gags is that whenever the killer sings, he does so in an over-the-top metal wail, backed by searing doom-metal guitars.* When he delivers his pre-kill one-liners, he does so in that same ridiculous voice. The one-liners are all theater-related cliches so awful that they become highest art. And please do yourself a favor and listen to the closing credits medley with every song performed by this same metal band. It's a trancendant experience.


For a movie about the brutal murder of teenagers, Stage Fright is a fun, light-hearted romp that will keep you laughing until ear-worms make your brain explode.

*Full disclosure: I don't know Deathklock from Mastodon, so I'm pretty sure I've mislabeled the metal sub-genre.

Advent of Atrocities - Day 3: Nurse (2013)

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So, at the end of Nurse, we find out that Abbie the killer nurse is actually Sarah Price, who had been living under a fake identity after escaping the mental hospital she'd been committed to after killing her father as an 8-year old.

That's right. I just spoiled the whole plot in the first sentence. I did this because:
A) I'm an asshole, and
B) To make the point that the film's plot is entirely beside the point.

This "twist" is just tacked on to make it seem like Nurse is telling an actual story. But the glory of Nurse is that it manages to be a great time despite lacking such fundamental things as story and character development. Further, it creates a new horror icon for the ages. Abbie Russell stands tall among some of the most sinister villains in the genre. And to think, I fully intended to skip this one.


I never wanted to see Nurse. It looked like nothing more than a cheesy, money-grabbing excuse to show boobies in 3-D. And it kinda is. But in a good way. The narration is sharp and funny, delivered in Paz de la Huerta's drawn-out monotone that kills every one-liner the script throws at her. At one point, she has just offed her therapist by seducing him in his car, shooting him up with a paralytic, then letting the car roll backward into traffic where it promptly gets totalled by a semi. As the victim's bloody corpse smashes through the windshield, she narrates, "Larry made me come after all."


Half the reason Nurse didn't initially appeal to me was that I never thought too much of Paz de la Huerta. Maybe she's pretty, but not in a way that appeals to me, and I figured she was cast because of her willingness to take her clothes off (SPOILER: She does.), but aside from the killer script, she's the reason Nurse is so much fun.


Her part is written so she doesn't really have to act. She just has to vamp like crazy. But somehow she ends up being a totally compelling character and hilarious to boot. Her every line is simultaneously overplayed and underplayed, if that makes any sense.


The fun part of Nurse is watching Abbie gleefully (yes, she remains stone-faced, but the glee is implied) dismantles her new coworker, Dani's entire life, all the while justifying it to herself. When Dani graduates from nursing school, Abbie takes her out on the town, drugs her drink, sets her up with a 3-way, and takes photos to use against her. None of this is out of spite, by the way; Abbie has quite the thing for Dani. But Dani's got a boyfriend she needs to get rid of. Everything Abbie does is completely malevolent, but she still sees herself as the hero of her own story.


The violence in Nurse is pretty strong throughout, but the last 15 minutes becomes a pretty decent bloodbath, The gore isn't stomach-turning, but the blood does flow freely. Nurse isn't a pull-the-covers-over-your-head-and-sleep-with-all-the-lights-on horror movie. It's a wicked, mindless hoot for a drunken Saturday night. So there's your weekend. You're welcome.


Advent of Atrocities-Day 4: The Battery (2012)

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The Battery isn't so much a horror movie as it is a zombie-themed art-house indie road movie. And by the way, that's a good thing. I imagine most of you are pretty burned out on zombies, and I'm with you on that. Remember the good old days when Romero's Dawn of the Dead was the end-all, be-all of zombie films and only you and your horror nerd friends had actually watched it? Twenty years after it was made, it was still edgy and fairly underground. These days you can't walk into the kids' department at K-Mart without tripping over a box of cutesified zombie jammies. Also, remember K-Mart. I'm old.


The point of this rambling zombie nostalgia is that after the bombast and spectacle of the multi-million dollar zombie flick World War Z, a small, intimate zombie movie like The Battery is the only thing that can bring this genre back from the dead. The Battery is essentially a 2-man show. Ben and Mickey live in the now too familiar post-zombie-apocalypse America, wandering through the woods and looting houses to get by. The film's title, by the way, does not refer to a car battery, as I was certain would be the case. It is actually a baseball term I was unfamiliar with, meaning the catcher and the pitcher, which is exactly what Ben and Mickey were, pre-ZA. Aside from the fact they were on the same baseball team, the two have little in common and have vastly different coping strategies for dealing with the new world order. Ben embraces the brutal, nomadic lifestyle of this new world, relishing the freedom it affords. Mickey wants nothing more than to hole up in a house or find some other trace of civilization.


The zombie action is kept to a minimum, with the focal point of the film being the relationship between the two leads. If you like your horror films fast and ferocious, The Battery may put you to sleep. What the film does instead is to simulate the feeling of what life would be like after most of the population is dead or zombified. In a word: boredom. Director (and the dude who plays Ben) Jeremy Gardner isn't afraid of long, lingering shots in which very little happens. The movie opens with a full two minutes of Mickey smoking and changing the batteries in his Discman. There's also a toothbrushing scene that goes on well over a minute. Writing this, it sounds awful. But within the context of the movie, it works. Just be warned that The Battery requires a high tolerance for art-house pacing.


While the movie is slow, the interaction between the two leads is highly entertaining and often hilarious. Ben's kind of an asshole, but not the worst person to be stuck with. And that's kind of the point of the movie. Two guys who don't really like each other that much come to depend on one another and eventually form a bond deeper than either is aware of. Plus Mickey masturbates to zomboobies! Just thought I'd throw that in there.


I won't spoil any more of what happens, but I do need to mention the greatness of the music. I'm so pissed that there's no soundtrack available, because every song that plays in the movie is pure gold. No wonder Mickey's got headphones on all the time.


Now that I'm at the end of this review, I realize that I haven't made much of a case for why this movie is so good. And I still can't figure out how to express it. But trust me, if you're sick of the whole mass media zombie-bombardment of the last several years, don't let that put you off from seeing it. The Battery is the anti-World War Z.






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