Throwback thrills and bloody murder!

Posted on February 26, 2026 by Daniel

I needed this. It’s a trio of basic, low budget, supernatural slasher flicks with plenty of nods to the music, fashions, and satanic panic of the Gen X era.

THE BLACK QUARRY (2023)

This heavy metal horror comedy is only 49 minutes long, and I think it’s my favorite of this trio, but not because the runtime is perfect for my short attention span. Hell, the first kill doesn’t happen until 29 minutes in. In other words, don’t ask me what happened for those first 29 minutes.

Just kidding. We are welcomed by a witchy horror hostess. Not necessary, but a pretty, black metal babe dropping horror puns definitely sets the tone. The film has an old school, direct-to-video look and feel, and it takes place entirely during the day.

We then see a big, bad, bearded dude in face paint doing a satanic ritual and sacrifice.

The bulk of the movie focuses on the road trip of the members of a metal band and their manager. There’s some playful humor and banter as they travel to a quarry to shoot a music video.

The kickoff of the kills is much needed by the time we get to the 29-minute mark. The manager is singing Britney’s “Toxic” as he heads into the woods. All of a sudden, this awesome skeletal demon dude shows up.

It’s speed kill time! The massacre comes fast and furious, with victims being hacked up in very clever ways with their own musical instruments. I particularly liked the drummer’s hi-hat kill. The kills easily could have been spread out a bit more rather than crammed together in the last twenty minutes, and there’s little depth to the plot, but all that matters is that it’s a staple—playing heavy metal music leads to the horror. Insert the sign of the horns here.

ATTITUDE FOR DESTRUCTION (2008)



The play on the title alone tells you what generation of metalheads this one caters to. It even looks and feels like a shot-on-video flick from the 89-91 era, plus it begins with Ratt’s “Round and Round” during the opening logos. However, don’t expect any more licensed metal from the 80s beyond that song (which is used twice).

This is a straightforward, heavy metal/Devil worship plot. It even begins with a satanic ritual and sacrifice of a naked woman on an inverted cross. There’s blood, there’s gore, I think there’s a severed penis, and there’s even a little person thrown in for the hell of it.

Next, we meet the band. They land a record deal, but band member Drake, who thinks he calls all the shots, isn’t interested in accepting the deal. So…his band members stomp him to death and bury the body.

Drake doesn’t stay dead, and the guy playing him, despite underwhelming, living dead makeup, has a blast being sinister as he starts slicing and dicing all his former band members. What I want to know is where this dead Drake dude keeps getting all his awesome murder weapons.

There are several BJ scenes, a few full song performances by the band, and a couple of cute, shirtless guys.

Drake’s first kill isn’t until 41 minutes in, and while the kills are totally indie and sloppily executed, they deliver old school blood and campy fun. Especially the final frame.

THE DEVIL’S MUSIC (2023)



SRS Cinema released this one, and I was pleasantly surprised at its VHS throwback visuals and the totally bizarre blend of slasher and demon subgenres. I mean, yes it has a messy script, thin character development, and some hokey CGI kills, but I enjoyed the hell out of the gritty filter and dialogue that comes across as being dubbed in, making for some funny character reactions to the killers.

Yes, I said killers. This is so weirdly awesome. A group of friends gathers at a house in the woods. They bring up a tale of Steve the Miner, who was believed to have been killed in a mining tunnel explosion…only he didn’t die, according to legend.

And he didn’t. He’s still out there killing. He kills members of the group. He kills random people with no connection to the plot. Some of his kills are cutaway. Others are that bad CGI I was talking about.

Meanwhile, another complication arises. One of the friends plays a demonic record backwards and becomes possessed! He’s creepy, he’s entertaining, he loves to taunt victims, and eventually he takes on Steve the Miner.

There’s so much more that I enjoyed about this one. Everyone is wearing faux 80s fashions, hairstyles, and makeup that’s so bad that it almost looks like it is genuinely the 80s.

There’s a cop who looks like the leather man from the Village People. Sucks that he is killed off so fast, because I was living for his ridiculously fake handlebar mustache. He deserved character development…like horny leather daddy cop on the down low character development. He deserved it. He earned it.

There are a couple of campy, faux 80s music dance montages, a muscular dude boxes with Steve the Miner, and the final act is just loaded with 80s-esque horror vibes as the demon takes over the whole plot. Awesome.

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TUBI TERRORS: three creepy legends

Posted on February 24, 2026 by Daniel

Noticing I had three movies on my Tubi watchlist with enticing entity names, I knew it was time for a new triple feature. But did any of these flicks deliver?

BIAZ: KARA LYENIN LANETI (2024)

   

The name of the entity in this Turkish film is more frightening than the movie itself, which is a totally formulaic throwback to supernatural stalker movies of the early 2000s.

Four friends celebrating the end of exams week pull out a Ouija board at their little party. Almost immediately, things start moving around them as if they just stepped into Carol Anne’s bedroom.

And then, they each start experiencing haunting phenomena while alone. There’s plenty of horror lighting (and strobe lights), but the scare sequences are repetitive, and the entity looks like some medieval monk. Yawn.

Eventually, the kids start to get killed, but there are only four of them, so there’s no body count. After the first kill, the three survivors decide they must stick together…and then eventually split up. Sigh.

They first track down someone previously affected by the entity in a mental hospital, and she tells them how to defeat the entity. They attempt to apply her technique, more of them die, the ones that are dead seem to join the entity around those he kills, and we get a final girl and a brief chase sequence around their school (where they seem to spend a lot of time alone at night for kids that are so terrified).

Not even my nostalgia for early 2000s movies like The Boogeyman could save this one.

NAHUALLI (2025)



This 76-minute movie delves into Mexican superstition and folklore, yet it mostly comes across as a combination possession/slasher hybrid. However, the dark and atmospheric settings do the heavy lifting of capturing the spirit of the underdeveloped entity.

In the opening scene, three friends explore an old church in Mexico, and something takes possession of one of them. From what I could tell, it seems to take control of victims by inserting its hand in their mouth, which is not something you see every day.

Then we meet Mark and his two buddies. They are heading to Mexico a year later to search for Mark’s missing sister. I’m not exactly sure where anyone is staying, but the guys and a bachelorette party both end up sheltering near the church.

Mark has eerie nightmares and visions, including those of some sort of witch doctor that seems to hold the answers to everything. Mark and his friends head out into the wilderness at night, and that’s when things begin to go wrong.

The story of the bachelorette party really feels unnecessary until the guys find the church, where they encounter the demonic entity. One of them becomes possessed and heads out to start killing people, and the girls are a perfect target.

The legend doesn’t unfold organically, for in the end, a few of the characters have to find the witch doctor of Mark’s dreams, and it is he who basically explains everything. Adding to that underwhelming aspect, there’s not much in the way of a thrilling climax, although there are suddenly a few more demonic looking baddies added to the mix, and they are effectively creepy.

LECHUZA (2025)



This is a film that has a fantastic demonic/witchy creeper vibe and visuals but simply doesn’t pair its monster with a script that gives it a chance to thrive.

The story is simple. A woman, her young son and daughter, and their uncle are going on a camping trip. While on the road, they stop for a woman cloaked in black who seems to be hurt. However, as the uncle approaches her, he senses she’s a freak, so he leaves without helping her. I wouldn’t have even stopped.

Soon after, it’s like the witch is following them. During a rest stop, she terrorizes the son and seems to curse him as well. This is followed by an unneeded stretch of scenes of her roaming through the wilderness as the car drives on a deserted road.

After they set up camp, the kids go exploring and encounter the main creature. Eek! I’m telling you, this winged demon witch monster—aka: Lechuza—gets a fantastic monster design. Are the monster and the witchy woman one and the same? Not sure.

As for the family, they kind of just hang out. The kids keep getting scared, the adults tell them they’re imagining things…rinse and repeat. Even with the kids saying there’s a monster in the woods, and the adults telling them they aren’t allowed to watch horror movies anymore because they’re imaginations are running wild, the uncle goes and tells them the legend of Lechuza at the campfire! Asshole.

While this isn’t a found footage film, it sort of is. It keeps jumping between third-person camera view and a first-person perspective with no rhyme or reason. The uncle does hold a camera earlier in the movie, but I don’t think he’s actually filming during any of the first-person scenes. When the uncle explores the woods with just a flashlight, the monster suddenly goes full-face at the screen, and you hear the uncle yell, “What was that?” Like, are we supposed to be seeing through the uncle’s eyes, with that close-up being just to thrill the audience? No idea.

Like I said, the director absolutely nails the monster sequences, including a great aerial view when it’s flying over the running family and picks one of them up in a moment that brings me right back to the very first V/H/S story.

The final flight (of both the family and the monster) is fantastic and made the movie worth watching for me, but the final frame ends with the letters REC up in the top left corner of the screen. This movie wanted so badly to be a found footage film but just couldn’t commit.

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It’s never too late for holiday horrors

Posted on February 20, 2026 by Daniel

Yet another marathon of holiday themed horror movies landed in my lap, and they’re always in season for me. The latest smorgasbord to add to the complete holiday horror page includes Thanksgiving horror, Christmas horror, and a multi-holiday anthology of sorts.

SAY CHEESE (2026)

This 70-minute movie is like some sort of weird, art house holiday horror anthology about an old camera that infects those who get their picture taken by it. The camera seems to be possessed by some sort of demon that occasionally pops up to deliver ominous messages to those infected.

I’m assuming the whole movie takes place in the same apartment building, but I’m not sure. Colors are saturated, there are distracting flashes of light and editing, and Christmas clips, still shots, and music are inserted into tales that take place on different holidays.

Matters are made more confusing by the fact that the tales are essentially chronological by where they land during the calendar year, yet the first tale is set on New Year’s Eve, and the second one hits on Christmas Eve. My aching head.

Chapter 1, New Year’s Eve

This is the longest tale of the bunch, and an exorbitant amount of time is focused on simple dinner conversations between a straight couple stuck in their apartment during a pandemic, with the camera fixed right at the edge of their dining table. The woman scored an old camera at a sale and takes a photo of the guy eventually. Over a course of weeks (so it’s not just a New Year’s Eve tale), the man becomes sick. There’s no definitive conclusion to this tale, because we’re not done with it yet.

Chapter 2, Christmas Eve

After skipping a neighbor’s holiday party, a woman receives a mysterious package…the camera. A connection is made to the first tale (not that I understood it), and eventually the camera infects the woman.

Chapter 3, Valentine’s Day

A lonely guy is set to have a first date, but somehow the camera lands in his hands and things turn tragic for him.

Chapter 4, Labor Day

This is a holiday we don’t get every day…and it’s introduced with “Silent Night” playing. No Christmas music until after Halloween, dammit! Anyway, during a company’s staff photo shoot, the douchebag CEO demands professionalism and speed from the photographer…who now has the evil camera. Don’t expect a company-wide massacre, though. Bummer.

Chapter 5, National Podcast Day

I looked it up—it’s a real “holiday”, and it’s on September 30th. Naturally, I was disappointed that the final story doesn’t land on Halloween, but clearly the film’s creator wanted to be different. In this one, podcasters have learned about the killer camera. One team of podcasters goes to investigate, and we finally learn the fate of the guy from the first tale.

This is actually a very interesting concept movie, it just doesn’t fully come together. The script definitely needed some rewrites to strengthen the narrative.

THE PRIEST: THANKSGIVING MASSACRE (2025)

The director of St. Patrick’s Day Massacre takes on Thanksgiving, and I’ll start off by saying that I picked up the DVD of St. Patrick’s Day Massacre after seeing it, but I won’t be doing the same for this one.

The opener, which takes place way back in the days of the first settlers, is totally intriguing. A reverend who looks like the creep from Poltergeist II is trapped in a cabin with no food during the winter…with a buxom blonde. He locks eyes on her meaty mounds and decides it’s dinner time. Eek! Sadly, we don’t see him snack on the sacks. He does, however, decide he must pay for his sin, so he shoots himself.

Things take a bizarre turn in modern times. A woman who is separated from her husband brings her grown daughter and son to a house in the woods to spend Thanksgiving with the father…and his huge-breasted new girlfriend. What in the dysfunction hell?

This whole setup is just weird. There’s endless back and forth about everyone’s feelings while twangy guitar music serves as a score. The separated couple keeps arguing. The new girlfriend seems to be trying to seduce the son. They end up in a sauna together, and apparently the steam seeps into the floor and revives the priest, who is buried in the ground underneath.

I can’t even comprehend what I was watching. Seriously, the film consists of one person after another crawling under the floor of the sauna and getting killed.

It’s not until 79 minutes into this 86-minute movie that the reincarnated priest pops up through the floor. I was hoping that he would be back for more juicy tits, which seemed the only way this movie could go considering a huge-boobed woman was cast as the girlfriend, but there is absolutely no balloon popping in this silly little film. It’s a disappointment as both a slasher and a Thanksgiving horror flick.

SILENT NIGHT, DEADLY NIGHT (2025)

Many argue that Silent Night with Malcolm McDowell is not a remake of Silent Night, Deadly Night, but in essence, it’s more of a remake than this remake. With this take on the 80s classic, the director of Summer School and Wrong Turn 2021 does something totally different with the main plot, and I fricking loved it.

Based off initial kills, I thought the change here was going to be that Billy, who witnesses a guy dressed as Santa kill his parents after leaving his Santa-like grandfather’s nursing home, only targets older men with white beards. That alone would have been a cool update, but that’s not where this one goes.

After an opening similar to the original, this film takes liberties. Forget the orphanage and the wicked nun. Doesn’t happen here. We go right to meeting older Billy, played by Rohan Campbell of Halloween Ends. He regularly hears a voice in his head telling him to kill like he’s got Venom living inside him or something. For most of the movie, I kind of hated this aspect and thought it unnecessary, but it all makes perfect sense by the final act.

In between answering the calls to kill and marking them with blood in an advent calendar, Billy becomes involved with a female coworker at the toy store where he gets a job, played by the roommate from Happy Death Day. Yay!

The absolute highlight of Billy’s kills is when he crashes a white supremacist Nazi holiday party and slaughters everyone in attendance.

The most amazing thing about this scene is that I’m sure the knee-jerk reaction of all the woke haters is to pounce on the political bias messaging in this movie—you know, the one that’s saying that Nazis and white supremacists are naughty and deserved to be punished. Heh heh.

It’s in the final act that the plot takes a total turn and becomes its own animal, and it totally rocks. I think it was brilliant to completely change the plot line. It’s fresh, different, and much more character focused than the original movie, offering something unique rather than a Christmas cookie cutter slasher. There’s also a fantastic sequence that takes place in a ball pit.

The way in which it’s used is actually quite chilling. And I adored the ending.

GOBBLEFOOT (2025)

I would avoid SRS Cinema movies like the plague, but they keep releasing holiday themed horror flicks, and I feel obligated to watch every holiday horror movie I know exists.

I’ll make this short. Like all SRS Cinema films, this 71-minute flick feels like a bunch of guys got together and improvised a story while they filmed in their hometown.

300 years ago, a girl was accused of being a witch after stealing turkeys. She cursed her town with a demonic presence on Thanksgiving….Gobblefoot!

We see this comical monster puppet soon after in modern times as it attacks a dude in the wilderness. A college professor investigates a series of murders believed to be the work of Gobblefoot.

A queer looking dude appears to have conjured Gobblefoot, and has the hots for the creature. He lures a few different men to a warehouse so Gobblefoot can kill them. That’s it. That’s the movie. Other than the killer turkey man, the holiday is irrelevant and never celebrated.

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All sorts of slashing, from the simple to the supernatural

Posted on February 16, 2026 by Daniel

It’s a smorgasbord of killers, but not all of them are up to the challenge of upping the body count. Let’s find out which ones disappointed.

AXES AND Os (2024)


While this is a fun slasher flick that takes place on Valentine’s Day weekend, everything is underdeveloped about the story, including the fact that it is Valentine’s Day weekend.

There’s a great hook for the killer—he was rejected on Valentine’s Day as a kid, so now when he kills, he rips out the heart of his victim and holds it up triumphantly. But that only occurs a few times instead of after every kill! Like, that should be his MO! It would have been even better if he’d left a facsimile of the card he handed to the girl that rejected him on every victim, but sadly, that doesn’t happen. And finally, this killer doesn’t wear a mask. He’s just a big, bearded backwoods dude.

But it’s not as simple as that. A group of girls heads to a rental house for a Galentine’s weekend at Valentine Lake after one of them is jilted by her boyfriend. Our two main girls are sisters, but only through adoption in one of the most crucial yet underdeveloped plot points of the film. The younger sister has nightmares of someone strapped to a hospital bed going crazy, and when she asks about her natural mother, her sister gives a half-assed answer. Nothing is ever clarified, yet it is absolutely essential to the final act of the film that this information be supplied. Since it’s not, the movie really makes no sense and leaves you trying to fill in the gaps.

See, this is one of those films that blends genres. I don’t know exactly why there’s a feral character…or experiment gone wrong…or vampire (?)…that comes to fight the killer at the end of the film, but that’s what we get.

We also get the usual. Cops on the case because there have been killings before. An obsessed character that is determined to take down the killer. A suspicious landlord the girls rent from who seems to be tied to the killer (another underdeveloped subplot). A bikini montage. An awkward attempt at simulating a hetero sex scene (the hubby and I both laughed, because there’s no way straight intercourse works that way).

And, of course the kills. The killer is named the Axeman, so it’s all axe, all the time. They’re not bad death scenes, and the few with heart extraction are even better, but CGI blood splashes that are used in every kill cheapen things a bit.

The highlight for me is indie horror queen Jamie Bernadette, who at one point takes a stance against the killer that’s almost like a meta moment in which she’s telegraphing that she’s an old pro at this. Her choice of fighting back makes for an unforgettable moment in an otherwise forgettable Valentine’s Day horror flick. Either way, it earns a spot on the holiday horror page.

EVIL NUN (2025)

How do you start a killer nun movie? A nun screaming her head off while giving birth by the altar in a church and then getting the axe.

Good start to a less than good movie.

Next, we meet a group of young people whose van breaks down in a Mexico desert.


Would you believe there’s no phone service out here?

As they set off on foot to look for help, they talk about a legend of a nun who had an immaculate conception in a church. Both she and the child disappeared, and now the nun haunts the church.

Sooooo…why not go take shelter in the first church they come across in a ghost town? Like…it’s a town. You could have chosen any other building.

Things get weird in the church, one good girl who is very religious starts seeing a demon nun, there’s one satisfying kill, the good girl gets possessed by the nun, and the nun demands they find her child if they want the girl back. Blah blah blah blah blah.

There’s really not a lot going on here, and that includes kills. The group finds and reads the nun’s diary and learns the truth about her delicate situation. The nun leads them to underground tunnels to find her body. No one else dies until a priest shows up and the nun is not happy about it. It’s just really bland.

THE KNOCK KNOCK MAN (2025)

A 75-minute movie from the director of Halloween at Aunt Ethel’s? I’m so in!

The Knock Knock Man is one cool and creepy killer, however he doesn’t have many victims at his disposal. I guess there are just enough to fill the short runtime, though. Dare I say I wish the movie had been perhaps fifteen minutes longer and delivered at least one more death scene?

A great little tale is told about the killer’s origins in some brief opening text. Some kind of visual narrative—perhaps eerie illustrations—would have been a fun alternative that could have enhanced the impact instead of making the backstory feel like an afterthought.

The opening kill does leave an impression though, introducing us to the creep when he appears in a girl’s peephole and then mangles her face.

Next, we meet our main group of five friends. No time is wasted in getting them to a lake house. There aren’t even any partying montages. After a quick dip in the water and a little dabbling in a game of Truth or Dare, it’s right on to someone suggesting they play the Knock Knock Man game.

This is like Bloody Mary meets Talk to Me, and it’s an effective concept. The group sits around a door on the floor and calls upon the Knock Knock Man. One person knocks on the door and momentarily goes into a brief trance. While in this other state of consciousness, they see a door. There’s a knock. They open the door. They stare into the face of the Knock Knock Man. They return to reality.

Problem is, one person is too scared to play by the rules, and before long, the Knock Knock Man has slipped into their world. Eek! He’s cool and calculated in his approach to victims, and he does some gruesome damage, which is why I wish there were more kills.

The idea of the Knock Knock Man showing up at your door gets a bit lost in the shuffle (not everyone falls victim to a knock on their door), but there are some good chases, no time is wasted in the kids coming up with a plan to conquer the killer, and the final battle isn’t drawn out or overblown. It’s neat, tidy, and left open for a sequel. Yay!

VHS SUMMER CAMP (2026)

How to make a cacophony of confusion out of a 72-minute, supposed love letter to 80s slashers. I can’t even comprehend what they were going for here. The slashing is the last thing on the mind of this sloppy script.

A group of kids comes to clean up an old campsite. One girl keeps seeing a ghost in the woods. Another dude keeps seeing prophetic clips on a videotape in his room.

The woman who owns the place is on the hunt for a witch. Supposedly, one of the girls in the group of friends is unknowingly the key to the owner becoming a powerful witch.

The owner performs a ritual in which she makes her hot daddy husband into a killer.

He does just that, and eventually he tries to make it all make sense in a piece of dialogue telling one girl in the group why she’s tied to both this place and the ghost girl in the woods.

And finally, there’s another creepy dude who appears once in a while carrying a machete without saying a word or killing anyone. He then simply pops up at the end to kill the killer.

We never do see any witches.

Here’s a note to scriptwriters. You have to choose wisely when deciding which plot elements of your story don’t need to be explained. It can’t be all of them.

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Jumping on the Band wagon for some mindless horror

Posted on February 13, 2026 by Daniel

You’re usually either a longtime fan of Full Moon Features because they make you nostalgic for the 90s, or you think they’re total trash because you weren’t around when they dominated the horror section at the local video store. Personally, I needed a fix of Charles Band cheese, so I checked out four flicks he directed himself that I hadn’t seen.

DECADENT EVIL (2005)

Would you believe Band resurrected the Subspecies series to make a new movie that hasn’t the slightest hint of the same style as that popular vampire franchise? Well, not exactly true. The first 10 minutes of this 67-minute movie are a recap of the 1997 Subspecies spin-off Vampire Journals. After that, this is in no way a gothic/romance horror like the franchise that spawned it. It’s a pure 90s Full Moon throwback.

The setup is supposed to be that a minion of the main vampire from Vampire Journals escaped Europe and has set up home in a strip club/whorehouse in the U.S. and is now the queen of a vampire brothel.

A Full Moon money shot

She also has a little humanoid critter in a cage. One of her girls is having an affair with a mortal man. Horror icon Phil Fondacaro is a vampire hunter looking to take down the queen.

With only 57 minutes to spare after the first 10 minutes of “flashbacks”, there’s not much here beyond some vamp biting, sex, and the little critter slobbering all over a vampire whore like something out of a Full Moon Puppet Master movie.

The simple plot culminates in a revelation about Phil’s character, a second, female critter being created, and the two critters having sex. Seriously. The final scene is two critters fucking.

DECADENT EVIL II (2007)



Running 80 minutes long, this sequel has a slightly more intricate story than the first film, but it’s still one of those Full Moon movies you watch while wondering the whole time why you are watching it…and why you can’t stop.

Phil’s character returns, but Phil has been replaced by a different actor, which is a bummer.

The inter-mortal couple from the previous film is back (same actors), and this time they’re teaming up with the critter to help him find vampire blood to resurrect his dead son. So, they go undercover at a strip club where there are signs of vampirism.

Typical Full Moon shenanigans unfold, with vamp attacks, stripping, and nudity. However, this time the vampire is a vampire king, and he’s ghoulish looking instead of sexy and seductive. Also, his minion vampires get an upgrade—they have glowing eyes.

Eventually, the main characters are apprehended by the vamps for a low budget battle, and Phil’s character comes to save the day. I really wish it had been Phil playing the part.

Oh. And the critter finishes the film with sex again. Only this time he’s fucking a woman, not another critter. Why is Charles Band so obsessed with grotesque puppets sexually assaulting women?

DEATH STREAMER (2024)

At least Band knows he shouldn’t make his throwaway flicks longer than 80 minutes long. This one has a 73-minute runtime.

A vampire has embraced the modern age, using special camera glasses to live-stream his bloodsucking to his secret circle of viewers. In every case, his footage consists of his minions (including a big old gimp) taking a woman to a room with just a bed in it then tearing off her blouse so he can bite her.

In between his vamp attacks, a trio of influencers that focus on true gothic horror stories catches wind of one of his videos and delves into his past to figure out what he’s larger motives are, which compels them to give his videos a much wider reach…

The vampire doesn’t like the free exposure and eventually comes for them…in the church from which they broadcast. Don’t ask me how a vampire can enter a church, but he does for the brief, final battle.

That’s about it. This is mostly just a boobs and blood vampire flick.

QUADRANT (2024)

Yay! It’s another one that runs only 73 minutes long! Depending on where you stream it, Quadrant is available in color with black and white scenes during the virtual reality clips in Jack the Ripper’s heyday, or a “noire” version that is entirely in black and white. Personally, I think the old Wizard of Oz switcheroo works better here.

A team has created an AI helmet that allows users to face their fears and empower themselves by conquering those fears. Problem is, one young woman is not actually afraid of Jack the Ripper…she’s obsessed with him. Once she travels back in VR time to face him, she opts to help him out instead of defeating him!

However, her killing isn’t contained to virtual reality. Her dark side seeps into real life, and the killing continues. An entertaining approach to a simple slasher, it’s as hokey as most Full Moon movies, but there are boobs, blood, and melodrama.

While the Ripper scenes aren’t scary, there are actually some cool sequences involving another guy’s VR visits to a forest full of freaky demons. That kind of became the movie I’d rather see.

The Ripper story is at its most fun when the main girl starts to basically morph into him, giving off a half-man, half-woman vibe. Awesome.

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Family dysfunction and destruction

Posted on February 10, 2026 by Daniel

My latest triple feature proved to be pretty suspenseful, disturbing, satisfying, and a whole lot of commentary on fractured families. Let’s get right to them.

DADDY’S HEAD (2024)

This is a goodie for anyone who grew up on slow burns from the 1970s, with the creature being presented in quick flashes, shadows, and blurs instead of full Monty madness, making its fleeting appearance all the creepier. The film also doesn’t fill in all the blanks when all is said and done.

After his father dies following a car accident, a boy is left under the guardianship of his stepmother. He misses his dad tremendously, but I personally wouldn’t want my dad back if this is the way he looked the last time I saw him…

The tension gets under your skin as weird things begin happening in the forest behind their house. They notice smoke billowing out from the trees, but no fire is found.

Blue lights flicker through the windows at night. A figure starts appearing outside. Their dog barks furiously at something unseen.

And eventually, something scurries through the house. Eek! This is such a great scene, because the stepmom holds the son back while screaming for the dog to come back and not chase the creature. As a super protective doggy daddy, I felt what she was fearing about the dog’s fate at that moment.

I’m just going to say, if you are dog death sensitive, you might have to leave the room at one point in this movie.

The son begins to hear his dad talking to him at night, he’s beckoned into the woods, he finds a visually stunning branch structure that his stepmom prevents him from going in, and there’s a terrifying vent scene in the house.

It’s all kinds of sad, because the son longs to have his father back so much that he looks past how freaky all this shit is and continues to be drawn to whatever is posing as his father.

The final confrontation with the creature is the big money shot, and it’s a great scene, but like I said before, you really will be left not knowing exactly how and why this thing in the woods materialized to begin with, because it’s definitely not a metaphorical grief monster, thankfully.

OTHER (2025)

This one really makes a good double feature with Daddy’s Head. Another slow burn with a whole lot of eerie tension and suspense, it’s about a woman’s relationship with her mother and some sort of creature creeping around the house.

It’s also perhaps a bit too complicated for its own good, so the main story gets lost in plot elements like a drone, security cameras, an underground bunker, video monitors, VHS tapes, and even a Speak and Spell.

After a spooky opening clip—someone in a mask exploring the woods at night while filming and talking about a kid found with his face missing—we see a woman leave her house wearing a mask in search of something in the woods.

Then we meet our main woman and her man—or, at least, his ass. That’s because the only face we see in this movie is that of the main woman. The few other characters’ faces are intentionally obscured.

The main woman is called home after her estranged mother’s gruesome death. She ends up trapped at the house with something lurking in the shadows. She also keeps seeing a kid on a bicycle wearing a mask and telling her to hide her face. Eek!

Slowly but surely, we learn through videotapes she watches that she was a beauty contestant when she was young and that her mother was very abusive. Which begs two questions—why did her mother film herself being abusive, and why would the main girl want to watch the videos and relive those moments?

In between the thrilling sequences, you have to pay attention to the little details to understand what transpired in the past and how it explains what the creature is. Even if you do figure it out, by the end of the movie you will feel like a whole lot of details were left out, resulting in quite a few unanswered questions. Personally, I’m not sure if this monster was material, metaphorical, or a bit of both.

KILLER THERAPY (2019)

This is more of a portrait of a mentally ill boy than it is a full-fledged horror flick, but it really does draw you in thanks to great performances, dark themes, and appearances by several horror veterans.

A couple adopts a daughter only to quickly discover their teenage son hates her. Like, this kid is a psycho, played to sadistic and sinister perfection by the young actor. Not to mention, the father is played by Thom Mathew’s of Friday the 13th VI and Return of the Living Dead parts 1 and 2.

The main boy is constantly jumping from one therapist to another (including horror queens PJ Soles and Adrienne King), and it is revealed without any graphic detail that one male therapist sexually abuses him. This movie is seriously dark.

It’s truly unnerving watching the family fall apart as the son begins to lash out, eventually getting violent. He’s sent to an institution for six years, and when he returns home, things are only worse. His family doesn’t trust him, and before long he begins killing. However, this isn’t a slasher. The kills are infrequent, spontaneous, and end in him being devastated about what he’s just done. It’s really kind of tragic and heartbreaking.

Another cool aspect of the film is that Daeg Faerch, the original young Michael Myers from Rob Zombie’s Halloween, bullies the main boy in school and ends up doing a sort of role reversal scene of the one in which he gets back at a bully in Halloween. In fact, while the plots are different, I wouldn’t be surprised if Zombie’s film inspired this one.

With fifteen minutes left to go, the main guy (now in a really bad and distracting, long-haired wig) totally snaps and goes on a revenge killing spree. He also suddenly covers his face in makeup for no clear reason and ends up looking like the double for Jennifer Beals dancing to Laura Branigan’s “Imagination” in that Flashdance scene at the club.

The kills come fast, furious, and in quick edits, except Adrienne King, who gets a great, suspenseful build-up scene…with no payoff! WTF? She also gets the best horror lighting in the whole movie.

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TUBI TERRORS: Fairy Tale Frights

Posted on February 8, 2026 by Daniel

I’m always up for an evil adaptation, and this trio of selections from my Tubi watchlist went from not so great to a total winner. Luckily, that’s the exact order in which I watched them, unintentionally saving the best for last.

RUMPELSTILTSKIN (2025)

I’ll say it right up front; just stick with the 1995 Rumpelstiltskin. Almost nothing works in this odd little movie, which runs 77 minutes long.

We meet a straight couple that doesn’t seem very much in love. They just moved into a new house. The wife is pregnant. The husband finds a basket of yarn by an old sewing machine. There’s a mask inside.

He puts it on and gets Rump’s face (I don’t feel like spelling it out every time). We never see the husband take off the mask, but in between his fixes of putting it on, he’s just back to living his normal life with his normal face.

Eventually, he begins to kill a few people each time he has Rump face.

A guy who has been creeping around the house eventually warns the wife of the tale of Rump and how he steals unborn babies.

The wife at last confronts the husband, assuming he killed everyone, and he admits he did and intends to take her child. He gets Rump face, she tries to kill him, he runs off, he peeks at her from around a tree…the end. WTF? No ripping a fetus from mom’s body at least? And the body count is way low, which is a shame, because Rump is absolutely giddy and a lot of fun when he’s killing people.

THE WIZARD OF OZ: THE DEAD WALK (2025)

I’m always up for indie director Louisa Warren turning the joys of children’s imaginations into the stuff of their nightmares. Her timing on this one coincides with both the Oz resurgence thanks to Wicked, and the new Wizard of Oz horror movie Gale.

The original L. Frank Baum novels, like most classic children’s literature, were not all rainbows and sparking shoes, so I like the dark place the script takes us to. Namely, a rehab center where Dorothy is being treated for drug addiction. I mean, why wouldn’t she become a hot mess that needs drugs to escape reality after returning from a place no one believes she visited? Perhaps this is a nod to the 1985 Oz sequel Return to Oz?

Naturally, no one in the facility is normal or nice. The staff is sinister and psychotic, and the other patients are not mentally well, including a hot hunk who wears only short shorts and dies way too soon for my tastes. Why introduce such a strong, almost naked presence and then remove him from the equation so fast?

Dorothy is having nightmares about the witch enslaving her friends the Tinman and the Scarecrow. She believes she must do something to save them after leaving them behind. Sadly, the Cowardly Lion is only vaguely referenced later in the movie, but I imagine that’s because of what happens next.

Dorothy tracks down Glinda’s book of spells and reads a passage from it. Quicker than a twister can pick up her house, the Scarecrow and Tinman show up in the rehab center, and they’re like the Silent Hill version of the beloved characters.

They start a killing spree immediately. Scarecrow kills and steals brains. Tinman kills and steals hearts. Brilliant. Obviously, this is why the Cowardly Lion would have been a tough sell for a slasher. How exactly would he steal bravery?

The kills are violent and gory, although there is one poorly planned kill scene in which the Scarecrow is supposed to be cutting a victim’s scalp off with a meat cleaver, yet no blood or open wounds appear.

The witch also shows up to cause trouble, plus Aunt Em comes to visit Dorothy. While I love the idea of how Dorothy’s PTSD after escaping Oz has created real-life horror for her, this pretty much becomes a basic slasher with not much resolution or closure for our heroine.

THE DEATH OF SNOW WHITE (2025)

Eureka! A streaming marathon that ended with a winner. Despite being 111 minutes long, this reimagining of the tale of Snow White is fast-paced fun for the whole family. And by whole family, I mean me and the hubby. It’s definitely not for kiddies. It’s funny, it’s action-packed, it’s dark, it’s twisted, and it’s gory as hell, with practical effects.

The opener totally sets the tone, with a witch raising hell as she tries to infiltrate the castle while Snow White is being born. There’s violence, there’s magic, there’s murder. It’s awesome.

We then flash ahead in time. Snow White is now grown, her mother died in birth, her father has died, and her wicked stepmother is a psycho bitch from hell. We’re talking Elizabeth Bathory level bloodlust.

And her magic mirror is the stuff of nightmares, with a trio of naked, demonic women in its reflection taunting the wicked stepmother constantly and pushing her to do more extreme things to chase youth.

We meet Snow White, her female friends, the prince, his two comic relief friends, and the huntsman (played by the director Jason Brooks, a horror veteran actor himself).

Inevitably, Snow White is forced to flee. In the dark forest, she encounters freaky tree monsters and is saved by the dwarfs. It’s amazing to see a load of little people getting lead roles in one movie. Snow White’s initial interaction with them is cute and campy, and light banter and humor are sprinkled throughout the movie perfectly.

That also creates a nice balance with how fricking gruesome and grisly this movie is. The wicked stepmother is absolutely sadistic, and the torture she inflicts on innocent people is nasty as fuck! She makes Sigourney Weaver’s take on the wicked stepmother look like the fairy godmother.

Sticking to the main points of the story as we know it, the wicked stepmother eventually transforms into a witch to go find Snow White herself. The one interesting thing here is that the wicked stepmother has some major magical powers, which begs the question—why can’t she just use a spell or potion to make herself young forever?

Anyway, it all leads to a major battle for Snow White’s body between the wicked stepmother’s henchmen and the dwarfs. By the time people start dying left and right, you feel invested in these characters. You’re also cheering on the heinous revenge they enact on the wicked stepmother. Eek!

This one was an absolute blast with high production value, and it never slowed down despite the near 2-hour runtime. There’s even a super clever nod to the Brothers Grimm, the originators of the tale.

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PRIME TIME: a parasitic creature, demonic possession, and a sleepover slasher

Posted on February 6, 2026 by Daniel

This is definitely my kind of smorgasbord of horror subgenres, but does each of these three films do its theme justice? Let’s find out.

HELL HOLE (2024)

The opening scene of this kind of comedic creature feature is so awesome and leaves us with high expectations. Back in the 1800s, a horse explodes, and an awesome, parasitic creature bursts out of its carcass to the sounds of rockin’ background music.

Problem is, that energy is only delivered during the attack scenes sprinkled throughout the film.

In contemporary times, we meet a group of Americans fracking in the woods in Serbia when they exhume something unexpected. In between parasitic attacks, there’s a lot of dialogue, some of it humorous, but that’s pretty much all this movie is—it bounces back and forth between excessive dialogue and quick, fun, gory monster sequences. Also, note that not all characters speak English, so there’s some subtitled dialogue.

The film has some nasty elements, like the parasite’s tentacle squirming out of one guy’s ass and inserting itself into another guy’s mouth, so you’d think things could get super wacky and wild. Unfortunately, there’s just no real plot to drive the movie forward beyond people occasionally getting the parasite in them.

The best part is when the monster starts jumping from one person to another in the final act, so the humans just keep shooting each other.

YOUNG & CURSED (2025)

This is one of those movies I should have turned off once I saw how hokey it is, but it just has such an early 2000s direct-to-DVD look and feel to it that I couldn’t resist the simple comfort of it.

Five kids come to a cabin in the woods with no idea why. They are greeted by a young woman who is both paranoid and possessed right from the start. She called them there but has no idea why. However, the possessed part of her that peeks out sporadically knows. It takes a while, but the bewildered kids eventually drag the truth out of her in between fighting her silly SyFy television show magic effects.

The possession faces that eventually start showing themselves are also basic –CGI overlays on top of the actors’ faces.

They do a séance to get to the root of why they’re trapped in the cabin, which unleashes the witchy woman trapped inside the girl that called them there. Her goal is to harvest their souls right as a lunar eclipse takes place.

Now they have to figure out how to stop their fate. It involves confessing their sins, in some cases dealing with their struggles as marginalized individuals, and facing their inner demons, which rise to the surface as actual demons. That might make it sound like this eventually turns into some sort of Evil Dead knockoff, but they don’t terrorize each other. The pain is mostly self-inflicted and emotional. Blah. That’s no fun.

THE CHEERLEADER SLEEPOVER SLAUGHTER (2022)

This indie film runs only 62 minutes long, yet despite having plenty of pretty good kills, it somehow feels like it goes on forever.

Other than the kill scenes, the writing just doesn’t have enough ideas to create a full, engaging slasher script. It’s a movie about a cheerleader sleepover. There are plenty of classic, similar themed slashers one could consult to see how they filled the time, but alas.

We even get filler. The intro credits, playful and accompanied by an apropos theme song, are a little long. There’s an unnecessary dream sequence scare. There’s a cheerleading montage. There’s a twerking montage. And games of Never Have I Ever and Truth or Dare add nothing to the story, character development, or entertainment level.

The plot is simple. The cheerleaders practice. The cheerleaders plan a sleepover. The cheerleaders prepare for the sleepover. Boys plan to crash the sleepover—and drink Cherry Pepsi. Awesome.

The girls gather for the sleepover. There’s a peeper who is clearly just a loser and not a red herring. The boys show up. They all party. And eventually, they all die.

The kills are the highlight, capturing that classic, early 80s style, complete with practical effects. The killer wears a hoodie and mask and uses traditional sharp weapons to stab and slice throats. There are shower scenes, nudity, and backseat ambushes in cars. Most importantly, the kills are perfectly paced throughout the movie. But you have to wonder why the girls don’t become super concerned when the size of their squad begins to dwindle as they near the night of the sleepover.

Luckily, there are still enough cheerleaders for the killer to take down in the final 10 minutes. One girl who didn’t quite come across as an obvious final girl suddenly finds herself in that position, leading to a satisfying and violent hack n’ slash battle with the killer, so the movie does at least end strong.

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Backwoods crazies!

Posted on February 5, 2026 by Daniel

It’s a foursome of flicks about big baddies in the woods bashing brains left and right, but the difference is day and night. Like, literally, some of them take place in daylight, and others in the dark.

CREEPER IN THE WOODS (2025)

This movie is 80 minutes long, yet after the opening kill, the next kill doesn’t happen until about 50 minutes in.

The first kill scene is simple but serviceable. A couple having sex by a lake gets stabbed with a pitchfork.

Then we meet some main characters as they chat while playing pool at a bar. A pregnancy is mentioned, but it doesn’t play any role in the rest of the movie. Neither does much character development or subplots. There are, however, two actors from Psycho Science, which I just covered the other day.

Our main group of friends heads into the wilderness to camp. The fact that the whole movie takes place in daylight makes it really obvious that the same location is used over and over—a perfectly mowed, car-width path in “the middle of nowhere”.

There’s a camp setup montage, the group sits around talking, and then they go exploring…on that mowed path.

43 minutes in, we are introduced to a threatening redneck dude. Then we meet his brother, who wears an animal skull mask. The first kill is with a gun. Yawn. But after that, there are plenty of stabbings. Nothing all that gory, but at least there’s blood.

It’s just a series of chase scenes—down that mowed path—as the friends try to escape the baddies and eventually fight back.

In the end, one survivor hops into a car that’s driving by on the deserted road at just the right time. If you can’t guess the twist, you’re a total horror amateur.

My favorite part of the film is the song used during the end credits. “The Last Time” by 10eighty6 is definitely getting played on my Future Flashbacks show.

BUTCHERS BOOK TWO: RAGHORN (2024)

This sequel to Butchers, about a cannibal family in the woods with one mutant goon member (that we never actually get to see a full-on, clear face shot of), doesn’t seem to be connected to the first film as far as I can tell. There are no retuning actors, and the names of the characters in the family are not the same.

The opener is a goodie, with the mutant squishing a woman’s head with his hand. No CGI here. It’s all practical effects gore.

Then we meet the very unpleasant main group. They’ve clearly done something illegal and are on the run in a car on a desolate road, but there isn’t much depth of plot or characters here either. The group argues, they hit a deer, and the leader of their pack dies (and he’s played by the shirtless bully from Ghoul House, which I covered in the same post as Psycho Science!).

Turns out the group has someone tied up in the trunk of the car. They take the prisoner out and traipse through the woods. They are abducted by the cannibal family and brought to a cabin for some torture.

The movie is grisly, including a graphic penis severing, but don’t expect suspense or scares. Or any nighttime scenes for that matter. This is another movie that takes place entirely during the day. However, there is one unique twist, and it involves an androgynous main character without any real acknowledgment or explanation. Cool.

BUTCHERS BOOK THREE: BONESAW (2024)

So, there’s definitely no connection between the three Butchers movies other than the goon whose face barely see. And that’s okay, because each film really has a vibe all its own.

This one takes place entirely at night and is sleazy and gory. It’s a bit long for what little story it has to offer, but it really captures the feel of the brutal hack n’ slash movies of the Wrong Turn era.

This time, the goon is working totally alone…out of a van…in the area surrounding a strip club. The setting feels more urban than backwoods, but there is a whole lot of desolate road stuff going on, so I guess it’s still supposed to be a rural area or small town.

The goon hacks up plenty of random victims in the back of his van, but he also gets drawn into the drama of the strippers from the club. One girl has been fired. Another girl is buying drugs from a dealer and then selling them for a profit at the club. And a third girl consults a psychic to determine her future. The prediction couldn’t be clearer, yet she still ends up in the back of the van.

The gritty look and feel are perfect, a guy whips out his dick for a blowjob (blurry shot), there are gruesome mutilations, the goon finally mutters some dialogue, and two of the strippers have a great final battle with the goon in his van, which even leads to a car chase! Despite being longer than necessary, I definitely like the dark tone of this one better than Book 2.

MR. BUZZKILL (2025)

What a great title for a slasher about a killer wielding a buzzsaw. The film runs only 73 minutes long, and while it’s essentially a straightforward slasher with tight kills balanced by subtle humorous moments, it takes a roundabout narrative approach.

It’s the 26th anniversary of a massacre of the Mr. Buzzkill massacre. A group of friends is hanging out at a campfire near the site of the slashing, so naturally the conversation turns to the kills.

We learn how Mr. Buzzkill became a masked killer as a child, then we see a quick series of his kills as an adult (all daylight scenes), including lots of boobs, and a girl who cries and screams like Tara Reid in Urban Legend. Awesome.

Next, the campfire story turns to the tale of a group of friends that went to party at a cabin in the woods and was then slaughtered by Mr. Buzzkill. This is where you get the traditional template, with them partying, having sex, and being sliced, diced, and sawed by Mr.Buzzkill, who has a great, ominous presence.

Like I said, the humor is understated, but indie horror king Jason Crowe is the one who gave me a giggle…right before a gruesome death by bong.

The main slasher segment takes place at night, and the kills are delivered with indie horror practical effects perfection. There’s a chase scene, cops show up to raise the body count, and then the movie ends with no resolution, promising a sequel.

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A foursome of funny frights

Posted on February 2, 2026 by Daniel

It was time to break up all the horror flicks I’ve been watching with some funny fluff. Did these four flicks do the trick of raising my spirits? Let’s find out.

GHOST BABE (2023)

This light supernatural comedy has a kind of 80s throwback—a classic goofballs conjure up something supernatural vibe. However, it doesn’t quite push the comedy envelope enough to live up to the laughs of the best 80s era ghost comedies.

The black and white opening does perfectly capture that vibe, however. In the golden age of Hollywood, a starlet receives a protective amulet from her lover…right before being murdered by the mob. That amulet clearly didn’t work, so you’d think her revenge as a ghost would be to come back to give her man a piece of her mind for giving her a shitty gift.

Next, we meet the main three cute slacker/surfer type dudes in the current day, making this a new addition to the sausage fest scares page. One of them, who looks exactly like Cary Elwes of Saw, inherits his grandfather’s house, so the trio moves in. Shirts optional. Awesome.

Everything that happens after feels totally underdeveloped. A real estate agent tells them the place is haunted and wants to help them sell it. He clearly has other motives, but he isn’t in the movie enough to be a true foil.

The bear of the bunch, who looks like an even cuter Zach Galifianakis and absolutely steals the show as the only real funny one of the group, seems to have visions, but that’s not explored very much. Unfortunately, a scene with him in only a towel is spoiled when you can see that he’s actually wearing shorts underneath. But man, is he scrumptious.

Anyway, he pushes the other guys to try to contact the starlet’s ghost after it attacks him. They hold a séance. They go to a psychic. They find the starlet’s amulet.

And this is where things get weird in the third act. The starlet appears in solid form, and they start partying with her, but there’s still not much in the way of humor that really hits.

However, there are some kills, yet the guys just write each one off as no big deal and stay chummy with the ghost! It really feels like the script just couldn’t decide how to juggle everything it threw together, and it makes the ending really anticlimactic and loaded with loose ends.

PSYCHO SCIENCE (2024)

Running only 68 minutes long, this low budget indie answers the question “What if Weird Science was a slasher? What it nails the most is the theme song, which is an instrumental copycat of Oingo Boingo’s “Weird Science” theme song. Not to mention, it swaps genders, so we get a stud instead of a babe. Awesome, but no, the main two characters that create him aren’t gay guys. That would have actually made for a better, funnier movie.

In terms of comedy, the film really doesn’t deliver any humorous highlights. So much of the first half features our two main girls going on bad dates, and none of it is all that funny.

Meanwhile, their geeky guy friend creates a machine, which looks like an aluminum foil tower, that can materialize anything you want if you simply feed it a photo of what you desire.

19 minutes in, they decide to create the perfect man to share. Out comes a hottie just undies, and the first thing he does is shower. Yay!

Here’s the weird thing. The girls don’t really share him. He is pretty much exclusively with one girl, while the other girl doesn’t show any signs of jealousy. That could have added a deeper dimension to the plot and played better into the horror and slasher elements.

Instead, the girls discover they fed a photo of a serial killer into the machine. Their creation heads to a cabin in the woods to kill off a group of friends that is introduced halfway through the movie. It’s purely low budget, complete with big tits and a totally hokey, CGI beheading.

When the plot finally circles back to the two main girls, their solution to stopping the murders is absolutely silly and anticlimactic.

GHOUL HOUSE (2021)

Is this 73-minute horror comedy about unexplained cat zombie people and a murderous school bully infiltrating a party absolutely goofy and illogical? Absolutely. Did it totally keep me riveted thanks to perfect auditory and visual 80s vibes? Also absolutely.

We meet the main players at school, and then we movie right to the party. This house is drenched in Argento light colors and strobes, setting the perfect tone. We also get a nonstop synth score and at least four dance montages that feature only like 2 to 4 people dancing, which is kind of funny.

This is the lowest attendance party ever. But the tracks used for the dancing scenes are fantastic: “Moans” by Parade Ground from 1988, and the modern wave track “Rites of Macabre” by The Seance.

The crazy bully, a beefy dude who goes shirtless and is the major comic relief thanks to his over-the-top performance, is outside waiting to crash the party and makes a couple of funny gay jokes throughout the course of the movie, including a sadly thwarted plan to face fuck a dude he wounds.

The cat zombies are also a hoot. The hubby and I both chuckled at the way they moved and made cat sounds.

Only thing is, the cat zombies don’t get inside until 53 minutes into the movie. This doesn’t feel like a very fleshed out script. Nothing is explained, plot points are dropped, and after a bunch of kills, the movie simply ends with the two survivors running off being chased by the cat zombies. Even so, the final act with all the cat zombie chaos in the house is just such a vibe.

1 HOUR TO KILL (2025)

This is a sequel to 6:66 PM, with the same exact cast of characters once again trying to film a ghost hunter show. This time they are checking out a house supposedly haunted by a serial killer.

A good portion of the first part of the film doesn’t do much of anything. The banter as they film on location isn’t all that funny, they do the screaming in unison gag a bit too much, and the most excitement is that the lights go out.

Everything changes when cutie Michael Buonomo comes on the scene.

He is perfectly over-the-top and hilarious in his psychotic need for revenge for his sister, who died at the hands of the serial killer.

He performs a ritual that is meant to cause someone to be possessed by the serial killer’s ghost, which will allow him to then kill the ghost. He chases the ghost hunters in order to track down the one possessed by the serial killer, but the ghost keeps jumping bodies.

The cast hits its comedic stride at this point, especially the always funny Chad Ridgely.

The chase scenes do get a bit repetitive, but the final confrontation in a salt circle makes for a good climax.

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