Three times the rust!

I’ve covered several of director Joe Lujan’s films, so I thought I’d check out a trilogy of slashers he has made over the course of ten years. Even though he clearly had a good sense of horror right from the first film, it’s cool to see how he tightened up his talent as the series progressed.

RUST (2014)

There are apparently several cuts of the first Rust movie, including longer and shorter edits. The one I watched is somewhere in the middle, running 53 minutes long, which is just long enough to get to the point, especially when you’re dealing with an indie slasher.

It begins with a kid who appears to work in his abusive father’s haunted attraction from what I can tell. Perhaps inspired by what his father is selling, he reaches a breaking point and makes daddy’s face into a mask. Eek!

Years later the haunted attraction has been abandoned, and we can only assume the boy never left and has grown into an adult killer. His name in the series is Travis, but I prefer to call him Rust considering that’s the name of the franchise.

Naturally a few friends decide to check out the old place and begin getting killed off rather quickly thanks to the short run time. It’s a fairly cliché and simple slasher, so you won’t hear me complaining!

The style and vibe of classic slashers is definitely there as Rust hunts his prey, so I found this to be a satisfying quickie.

RUST 2 (2016)

This 67-minute long sequel could easily (and more logically) have been edited down along with the first film to make one longer movie instead of two installments.

This time around, the cops take one of the final girls from the first film back to the haunted attraction because she believes her other friend is still alive.

That’s the plot. It’s as basic as it gets, and as usual, demands that you just go with the absurd idea that a survivor from a previous film would agree to return to the scene of the horror. Of note is that while the killer is Black in this series and all his victims are white girls, race is never mentioned.

Rust is surprisingly maskless in the opening scene, and he’s sexy scary. He’s also holding a bunch of girls hostage and even sexually assaults them. Yeah, this one adds some old school, sadistic misogyny to the mix.

The characters spend the whole time searching the haunted attraction and getting killed off one by one. Rust’s presence is much more effective this time around, but the film takes a weird turn at the end, and it’s not Rust but a feral woman who chases our main girls.

Despite this odd decision to veer away from the ominous killer he created, Lujan doesn’t pretend it never happened for the next film, making sure to address the feral woman’s presence very briefly.

RUST 3 (2024)

Eek! From hour long installments to a 108-minute full-length feature? It might seem like a bad idea, but the good news is that this one looks much more like a major motion picture, reminding us that the first two films were clearly low budget productions.

It’s years later, and the attraction is reopening, but Rust was never captured. The final girl has written a book about her experience, and she’s doing the ribbon cutting ceremony at the opening. Really? She hasn’t learned?

This one really delivers on the atmosphere, suspense, and kill scenes, and even includes a gay couple sneaking off for some sex instead of a straight couple. Awesome, and it lands this one on the does the gay guy die? page.

As well-crafted as the film is, it still runs too long, in part because it doesn’t take place all in one night. That really causes the pacing to stumble at times.

Even so, there are a lot of classic horror elements here. There are fun faux scares since this takes place at a haunted attraction. There’s a mini found footage style segment. There’s one scene between the two main girls from the previous installments that delivers more character development than the first two movies combined. Rust solidifies himself as a pretty terrifying and iconic presence. There’s a slow mo kill scene reminiscent of Annie’s tragic death in Rob Zombie’s Halloween 2. And there’s a satisfying final chase scene.

Although I welcome another sequel, the last scene promising one is kind of ridiculous—big, burly mass murderer Rust is being transported in a basic squad car with no partition glass. Escaping has never been so easy. Such a lazy setup.

 

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PRIME TIME: a trio of horror anthologies

So many tales in this trio of flicks, so little variety.

TRIAPHILIA (2021)

This is just a cheap trio of shorts with a curio shop as the wraparound. It’s only 69 minutes long, but it looks and feels low budget, and the stories aren’t all that exciting. On the upside, each one offers something a little different, which I can’t say for the other two films I watched for this post.

1st story – a straight couple buys a mirror from the store before the female takes her boyfriend to meet her parents, including her douche bag dad (racist, gun lover—you know the type).

Eventually the mirror unleashes a demon, and although it doesn’t get a lot of screen time, it’s fun and it kills a hot pizza delivery guy.

2nd story – a group of girls buys an urn that has the ashes of a serial killer in it…and then his psycho wife comes looking for it.

3rd story – two girls come in to buy a trunk and give it to a woman who lost her son. Soon a killer doll from inside the trunk is after them.

THE RED NIGHTMARE (2021)

I actually thought this anthology was just a collection of shorts from all different filmmakers, which would explain why virtually every single one of the 13 tales is a near cookie cutter copy of the others. However, once the credits began to role, I discovered all stories come from the same director.

While a few of the clips might at first seem effective and to the point with suspense and jump scares, before long you feel like you’re watching the same exact clip over and over just with different actors.

Essentially this is a series of shorts that get all their inspiration from The Grudge, The Ring, and Lights Out. In each case, someone is home alone and keeps seeing flashes of an entity (usually a ghost girl), but in the blink of an eye the entity is gone.

There’s not much more I can say about this, because it really is just a repetitive series of clips, although most of the entities are creepy. The standout for me was one that takes place on Christmas, because it has a child being terrorized by a scary Santa. I never get tired of children being terrorized by Santa.

THE HEIRESS (2023)

After a quick, satisfying opener about a dude who brings home a babe to bang only to find out she’s a demon, this anthology of four longer tales suffers from the same problem as The Red Nightmare—each tale is essentially the same concept and same style done over and over, just with different entities.

In the wraparound, an “heiress” (played by a man) is keeping evil entities locked up in different chambers in her house. And she begins to tell her little henchman about each one…

1st story – a guy trapped in his car during a snowstorm is visited by a ghost girl. He follows her out into the snow and eventually comes face to face with her. The end.

2nd story – a young woman moves into a new apartment and says Bloody Mary in the mirror three times. The entity then continuously pops up behind her as she roams around the apartment, until eventually she comes face to face with it. The end.

3rd story – a young woman is haunted in her home by a veiled woman who eventually crawls out of the tub like Samara from the well.

4th story – a girl trying to cope with nightmares about the death of her baby sister is terrorized in her home by the tooth fairy and is then confronted by her. This final segment has the best, creepiest evil entity of all of them.

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PRIME TIME: killers and crazies

It wasn’t on purpose, but the titles of the three latest flicks I picked from my Prime watchlist for a movie marathon happen to begin with the letters L, M, and N. I had a favorite of the trio, so let’s find out which one.

THE LEGEND OF LAKE HOLLOW (2024)

This cabin in the woods flick sends a message about respecting Native American lore and land. The delivery is a bit clunky, but overall I thought it succeeded in delivering eerie atmosphere and a complex and somewhat confusing story until all is explained at the end.

A group of friends comes to a cabin in the woods, and rather than first enjoying some fun at the lake or indulging in slo-mo party montages, they are quickly experiencing odd situations—cries and growls in the woods, apparitions appearing on trail cameras attached to trees around the cabin, and suspicious characters stopping by, like the weird caretaker of the cabin (of course).

Things escalate quickly, and the friends discover someone is targeting them. The phones don’t work, their cars are pushed into the lake, people in the woods seem to be harassing them, they find disturbing video tapes…there’s a lot going on here.

As viewers try to figure out what horror subgenre we’re dealing with, the group spends a lot of time running in and out of the cabin and the woods, slowly peeling off layers of the mystery, including seeing dead people, hearing Native American tribal rituals in the distance, and learning about the legend of an infamous mythological creature.

The most glaring problem with the movie for me was that none of the clues ever come together for the characters, so suddenly at the end, the creepy cool entity that finally makes its appearance has to explain everything in a lengthy monologue.

MISTER SLEEP (2024)

This little indie slasher effort has plenty of glaring, rookie mistakes, but overall it’s a fairly comprehensible plot that goes a bit above the usual storyline to aim for something more lofty. At times that can unnecessarily complicate matters, like an underdeveloped reference to the killer tattooing Viking symbols on the faces of victims, but you kind of just have to go with it if you want to get some slasher satisfaction.

However, even that satisfaction is mostly not too satisfying. For me, the over the top look of the killer was the highlight. He wears a scarecrow mask that is quite a contrast to his hardware-covered leather coat, but the ensemble definitely gives him a presence and makes a statement.

The general plot is that our main girl—a hot mess with agoraphobia and insomnia—is part of an online therapy support group, and pretty soon an executed serial killer seems to be back from the dead and targeting each member of the group for reasons that eventually become clear as the film progresses. I’d say the twist is the most refreshing aspect of the movie, but I did figure it out pretty early on.

The kills are predominantly a letdown, with the killer basically wielding a weapon at his captured victim and then stepping in front of the camera so we can’t see the execution! Every.Time. Sigh.

Thrown into the mix is a silly romance that buds between the main girl and an old friend who keeps stopping by to visit her. It just feels too quaint and forced and serves only to ensure she’s not alone during the final battle when the killer shows up at her house.

NIGHT EXPLORERS: THE ASYLUM (2023)

This film really took me by surprise because it starts off sooooo typical. A bogus “ghost hunting” group with an internet show makes the risky decision to try to garner more interest by attempting to go legit. They choose an old, abandoned mental institution to explore in hopes of capturing some paranormal activity on camera. We’ve seen this plot a million times. Or so it seems…

At first things feel slow and drawn out, sort of like the first part of a found footage film, although this is not found footage.

The group does a lot of talking, there are a couple of partying montages, they reach the mental institution, they settle in, and they start having silly little experiences as they explore the building.

That’s all I can really say, because this film takes a turn that you don’t see coming. Things get violent, gnarly, suspenseful, and claustrophobic. The characters are actually well-developed, providing some familiar archetypes while not being ridiculously cliché.

Notable is when the characters get badly hurt, they don’t just manage to go on with life like they haven’t been turned into a piece of Swiss cheese. Their injuries seriously hinder their ability to escape danger.

To top it all off, the ending is deliciously bleak and drives home the point that this group really made the unfortunate mistake of stumbling into something they never could have foreseen.

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TUBI TERRORS: backwoods horror, Lovecraft creatures, and sex and violence at a frat house

This is one chaotic trio of films, but they sure did hold my attention. Let’s get right into them.

THE CAMP HOST (2024)

This little film is so odd that I found it quite entertaining. It at first seems to be taking itself seriously, but just when shit gets really serious these quirky little hints of humor come forward, making for a rather confusing ride.

The film starts off just the way I like it—quick and to the point (of the knife!). A couple having sex in a tent gets hacked up. Yay!

Next, a straight couple is on a road trip. At a campsite they are greeted by the “camp host”, a woman so blatantly witchy and weird that you have to wonder why the couple didn’t immediately drive away.

The plot is somewhat messy. We meet a couple of other guys staying at the camp site, and there’s an attempt to give them all some character development, but it doesn’t really matter. The fact is that the crazy camp host is sort of like Angela from Sleepaway Camp 2 and 3; everyone in camp needs to follow the rules…or else.

The highlights include a nasty outhouse scene (I don’t understand why the male partner decides to go sit on a disgusting outhouse toilet bowl seat without dropping his pants to actually use the bowl), the camp host running super fast while chasing an RV, which suggests she’s somehow supernatural, and the main girl telling her man straight up she will dump his ass if they don’t return to the camp to rescue her dog. Love it.

It’s a truly weird movie, but I was never bored and it was refreshingly different than everything else out there these days. Just note that it leaves you with a lot of questions, including vague aspects concerning Native American lore and the camp host’s mystique (is she supernatural or just crazy?).

THE OLD ONES (2024)

I’m a fan of horror flicks from Chad Ferrin (Someone’s Knocking at the Door, Exorcism at 60,000 Feet), so I was excited to find another of his movies in my watchlist. This time he takes on Lovecraft, and it’s just as confusing and hard to follow as Lovecraft always is.

Basically a man from a century ago is found in the water by a father fishing with his adult son. He was possessed by a monster and did some horrible things for a cult back in the day, so now he intends to make up for it by taking down the cult. But the cult is on to him and comes back to destroy him in a myriad of monstrous forms.

Ferrin really goes for that old school, 1980s practical effects monster vibe, and I was so there for it. Modern viewers might find the lack of CGI-rendered monsters cheesy, but this is the kind of stuff I devoured on HBO and VHS back in the day.

Weirdness and quirkiness abound, including the son of the fisherman just immediately going along with the man from the past to help him take on freaky creatures, Kelli Maroney of Night of the Comet as a rotten lady monster, a nude woman showing bush (talk about retro), a gender-bending dude dressed as a waitress, and even some throwback elements that reminded me of From Beyond and other Lovecraft adaptations from the 80s. There’s a lot going on here and much of it doesn’t make sense, but it is one visually satisfying monster ride.

GUYS AT PARTIES LIKE IT (2024)

This dark sexploitation film manages to delve into sex and violence on the surface while actually making a whole lot of statements about frat culture, misogyny, rape culture, toxic masculinity, male white privilege, homophobia juxtaposed with homoeroticism in fraternities, and much more. If you hate “woke shit”, there’s good news. You probably won’t even realize it’s being presented to you since it comes sneakily in the form of offensive, sexual entertainment geared towards straight male sensibilities.

A frat is throwing a hazing party. The goal for the pledges is to lose their virginity. So one guy is sent upstairs with a girl to sacrifice his innocence, but before long, the attempt at scoring spirals out of control, and people begin dying and being murdered from all angles.

It’s a pretty clever way to have all hell break loose, and the movie is never boring, even if it isn’t exactly a horror movie. The kills are predominantly caused by a series of accidents until the very end, when intentional violence moves to the forefront.

Considering the film includes one gay guy who will delight those who like very queer representation and will piss off those who resent over-the-top gay stereotypes, it definitely scores a place on the does the gay guy die? page.

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TUBI TERRORS: a gay supernatural slasher, an all-nighter in the morgue, and the ghost of Manson

It’s the latest trio of films I checked out on Tubi, and it includes one with a gay male couple as the leads!

MY LITTLE NIGHTMARE (2024)

When I saw this move was 2 hours and 13 minutes long, I was dreading even starting it and planned immediately to view it as a two night miniseries. But then the first scene started with a cute Spanish gay couple in bed.

They kiss, they cuddle, there’s a little love spank. The portrayal of this couple is so genuine and charming, and they are literally the leading characters, so the movie earns a spot on the homo horror movies page.

That doesn’t negate the fact that this movie should have been at least 40 minutes shorter. There’s no excuse for this runtime. This is a pretty basic plot—it’s I Know What You Did Last Summer with a ghost child instead of a fisherman. Difference is the movie sort of goes in reverse. The cast gets stalked and killed off by this supernatural specter before we eventually get flashbacks showing why they keep saying “sorry” to the ghostly killer when they are about to die.

It’s nothing new, but the death scenes are fun enough, with frequent cheap scares as the ghost flashes across the screen (there even seems to be a nod to the infamous Exorcist III scene).

Honestly, I don’t even know how the film manages to drag out all the time between kills. There are plenty of attempts to give us character development, but it really doesn’t enrich the movie much and just kills the pacing.

Oddest of all is that it isn’t simply a dead child getting revenge. There’s some sort of evil entity involved, and I didn’t quite get why there was a need to complicate a simple plot line. Even so, I would highly recommend this one for the gay representation.

PLAY DEAD (2022)

Jerry O’Connell and familiar faces from TV shows Pretty Little Liars and Love, Victor are the stars of this morbid thriller with a sort of out there plot.

When two dudes try to commit a robbery, one is shot, so the other leaves him behind. He goes to his female friend and tells her everything, including the fact that the phone on his dead friend will lead police right back to him. Sooooo…brace yourself. The girl decides to play dead so she’ll get sent to the morgue and can then get the phone.

Once in place, she finds herself trapped inside the morgue with a crazy coroner, played by Jerry. She finds out he’s up to criminal shit in the morgue, and she needs to get out or she’s dead. For real this time.

It’s suspenseful with some macabre moments, but it’s also just beyond silly, and not only is she soon playing a cat and mouse game with Jerry….she’s playing cat and mouse with a dog. Sigh. I probably would have enjoyed the film a little better if it had been shorter. At 107 minutes, the absurdity of it all started to really get on my nerves.

THE RESURRECTION OF CHARLES MANSON (2023)

This is really such a silly little movie. It simply takes a major real-life horror to create a lifeless fictional continuation based on the infamous mastermind behind the Manson Family.

So this straight couple goes to an Airbnb in the desert to edit a documentary on Manson. Someone is clearly lurking around the house. The boyfriend also encounters an odd fellow while he’s out and about.

Not much happens at all, but eventually we find out there’s a cult that wants to resurrect Manson, and they need a sacrifice.

There’s a twist that doesn’t have the impact it could have if the movie had been a stronger thriller (it’s really flat), and the final ritual scene feels like something from a made-for-TV movie.

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TUBI TERRORS: fairytale horror, occultist home invasion, and a modern Frankenstein

It’s three more films from Tubi, the only place where I have a substantial watchlist, and this is a total smorgasbord of subgenres.

ALICE IN TERRORLAND (2023)

Trauma porn meets fairytale horror in a film that relies mostly on a series of nightmare sequences to deliver any sense of horror. Blah.

Running about 75 minutes long, which was more than enough bogus scares for me, the movie follows Alice, who goes to live with her aunt after her family dies in a fire.

Racked with guilt and grief, Alice begins getting terrorized by various specters culled from the pages of the Lewis Carroll classic, including takes on the White Rabbit (a guy in a rabbit mask), and the Queen of Hearts.

It’s pretty obvious from the start that there’s something suspicious about the aunt, who warns Alice to stay out of the woods when she explores the sprawling grounds of her property.

That’s really about all I can offer. There are some nicely dark nods to the children’s classic, but there isn’t much of a horror story to sink your teeth into, and as I said, all the scares are bogus dream sequences.

NIGHT OF THE BASTARD (2022)

This is another take on the home invasion/cult surrounding the house genre. The only way I see anyone getting any thrills from it is if they’ve never seen a movie like this before.

The opening scene is one of the best parts, with a couple encountering the cult when they’re headed for a party at a house in the desert.

40 years later we meet a recluse living at a house in the desert. He boots some kids partying on his land. When they leave, they encounter a cult, but one girl gets away.

She ends up at the recluse’s house, and together they must fend off cult members that try to invade the house…in between a lot of talking with nothing in the way of scares or suspense.

On the bright side, the eventual cult ritual has sexual, satanic elements, one cult member is awesomely witchy, there’s some violence and gore, and there’s a pervy little twist added to the otherwise simple plot right near the end. I was definitely feeling the final act.

LAS VEGAS FRANKENSTEIN (2023)

Las Vegas is a lofty goal to use as the setting for a low budget movie, which becomes glaring when this larger than life destination is represented by a few cheap sets, in this case mostly a basement dressing room, a small performance space, and a little occult store.

It’s also a shame that this movie about a hypnotist that decides to enliven his show by making a Frankenstein monster waits until the last half hour to actually do something focusing on the premise. We spend most of the time watching the shirtless, rocker-looking hypnotist talk to his girlfriend and his slow assistant dude.

Seriously, nothing really happens, and a majority of the film is pointless banter with no humor, despite the quirky vibe that the movie tries to establish. With thirty minutes to go, the plot that should have carried the whole film kicks in.

The hypnotist has his assistant lure men into the basement so he can kill them off to gather parts to make his monster (including a hot baldy).

This movie would have been so much more interesting if it had explored a gay angle that is just hinted at—the slow assistant dude could have been luring men to the basement for sex, and after he used their bodies, he could hand them off to the hypnotist to repurpose.  

Things get super bloody in the final act, with practical effects, and the monster looks quite gnarly. Unfortunately, his screen time is short-lived. He runs off and walks through the crowds in Vegas as hypnotist and friends hunt him down. The finale is very anticlimactic.

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Are these three horror flicks something to laugh at?

I bought two on Blu, and thankfully I just watched the third on Tubi. They each have varying levels of humor, but did they all give me a giggle?

ABIGAIL (2024)

This is one of my favorite blind purchases in a while. This is exactly my kind of horror flick. Campy gore, humor, thrills and action, and a great cast.

It’s a familiar scenario. Baddies commit a crime, get trapped in a mansion, and soon discover they’re not alone.

Melissa Barrera of Scream 5 and 6 is the main girl, horror hunk Kevin Durand is the comic relief, Dan Stevens is pretty as always, Kathryn Newton of Lisa Frankenstein is the quirky girl, and young Alisha Weir of Matilda: The Musical kills it as the evil little vampire girl who terrorizes the cast.

The simplicty is what makes it so effective. The group is locked inside the mansion and targeted one by one and then turned into vampires, and it’s total fun all the way through. Definitely a good horror party movie.

DEER CAMP 86 (2022)

This little supernatural slasher is a fun ride with some light humor, a likable cast of guys, and a pretty cool killer. It’s only real flaw is that it suffers from major plot holes—not much of what transpires makes sense in the end. I won’t get into details because that would just lead to spoilers.

It’s a backwoods buddy movie about a group of guys that goes to a cabin in the woods where Native American girls have gone missing.

Before they even arrive at the cabin, they get into a bar fight…and then someone who intervened in the fight gets murdered, giving us a bit of a whodunit element. The murder also releases some sort of supernatural force.

The guys have a run-in with a sheriff, whose role in the proceedings remains unclear right until the end…as do the reports of missing girls.

That’s why you just have to go with it and don’t go looking to make sense of it all. In the end this is simply a movie about a group of guys being terrorized by someone or something in an animal skull mask. There’s a nasty nutsack scene, some suspense, supernatural happenings, blood and gore, humor, and intense chase and fight scenes. Not to mention the location shots in the woods are visually stunning (lots of fall foliage), and the overall vibe of the setting is very reminiscent of Evil Dead.

HANKY PANKY (2023)

I really just don’t have the patience for absurd horror comedies like I used to. And if you go into this because Seth Green’s name is in the cast, forget it. He simply voices a talking handkerchief, and he puts on a voice instead of using his own voice.

This one goes on the holiday horror page because it’s about a group of friend that celebrates the holiday at a cabin on the snowy countryside.

One guy has this hanky he talks to.

One girl is single and likes him. Another pair is brother and sister. And the final pair is a boyfriend and girlfriend who just want to get away from each other. Then there’s a neighbor who stops by to welcome them.

There’s a lot of talk, and I found very little funny about any of it.

41 minutes in one of them is killed. The best part of this movie is a witchy woman who makes for better horror than talking inanimate objects ever could.

After that we learn there’s also a talking alien hat. The alien hat starts killing everyone, and eventually battles the talking hanky. I just can’t with this movie.

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BOUGHT ON BLU: conjuring up supernatural killers

It’s back to the late 80s and early 90s for the latest trio of films I bought on Blu-ray.

DEADLY LOVE (1987)

The director of Moonstalker manages to make that film seem like a better movie considering it’s a follow-up to this weak flick.

 

Deadly Love opens with a biker and his chick planning to run away from their dead-end town to elope. Before they can, the local rednecks kill and bury him.

Years later, she’s looking like trailer trash…living in a house. She also bares a resemblance to Britney Spears in her darkest days.

I don’t know why it took her decades, but she finally uses black magic to resurrect her lover. Awesome. A zombie biker slasher movie? If only.

The soap opera continues. She’s harassed by local teens, she commits suicide, her niece comes to live in her house, finds her diary, and reads it, bombarding us with cheesy flashbacks to her love story with the biker.

The teenage thugs return to harass the niece and in the last 23 minutes are offed by the biker (fully helmeted with a face shield) in bland ways with no blood. At least there’s beefcake.

The final moments of this movie are the only sign of horror and actual “back from the dead” vibes with some blood.

I can’t imagine why the filmmaker decided to save this kind of cheesy fun until the final frame.

WITCH STORY (1989)

So excited to score yet another 80s horror flick I’d never seen back in my video store clerk days. I noticed some reviews on IMDb saying how bad this movie is and how basic the plot is: witch executed in the past, kids in the present go to an old house, kids get killed off one by one. Um…I take it these reviewers didn’t grow up in the 80s? Because that’s all we needed back then, and horror ruled.

I’d say this is basically the Night of the Demons formula with witch possession instead of demons. The witch is burned in the past, and in the present two siblings inherit a house…her house. Uh-oh.

They come with their friends to check out and stay at the place. There’s great 80s pop music that sounds more 1985 than 1989, classic 80s musical cues during horror scenes, and the kids partying while eating KFC. One dude even has a Heart concert shirt on. Awesome.

There are a few dream and illusion scenes that deliver some blood, a ghost girl in white makes appearances, the group uses tarot cards, one girl has psychic visions, and then, for no explicable reason other than us having to assume the witch is possessing them, two girls in the group start growling and killing off their friends. It would have been nice if there was some ghoulish makeup thrown into the mix, which is where this one falls short, but at least the death scenes are violent and bloody.

There are definitely some odd moments, like one of the evil girls somehow rising out of a pool with a chainsaw (huh?), and the disjointed moving of the action from the house to an abandoned building for the final act, but familiar tropes of this type of film abound, like all the dead friends sort of coming back to deliver a bit more horror.

The fight with the possessed girls is satisfying, but the final battle is between a priest and the witch from the past, and it’s both bland and irritating, with the little ghost girl shrieking while the priest and witch hurl prayers and incantations at each other, respectively. There’s even a cheesy final frame scene.

Overall, this is entertaining enough with a good dose of 80s horror nostalgia, but it doesn’t live up to the fun of similar movies like Night of the Demons and Dead Dudes in the House.

DREAM STALKER (1991)

 

This shot-on-video flick from 1991 literally starts with motorcycle race footage that looks like genuine home video. The footage is so raw you can’t even hear the dialogue between characters over the wind and roar of the bikes.

Unfortunately, the sound doesn’t get much better after that. The audio is terrible, and the video is just as bad—there’s not much that a jump to Blu could do for this.

Indicative of the early 90s, the fashions look like the late 80s. A bike rider with a mullet is madly in love with his girl. He gives her a creepy music box and insists she promise that they’ll be together forever. And then…he dies.

She starts having nightmares over the next few years. She fiddles with the nightmarish music box, which shoots out same cheesy electrical special effects, and then the boyfriend is back, all rotten-faced. He kind of reminds me of the heavy metal killer from the 1986 flick Trick or Treat. His makeup and a spooky melody that plays incessantly as the film’s score are the highlights of the whole movie.

Well, not exactly true. The laughable aspects of the film are also the highlight. The boyfriend ghoul visits her in bed and slips on a condom for sex…but it breaks.

She has numerous nightmares. She goes to stay at a cabin in the woods and gets into a fight with a group of mostly white girls dancing to hip hop that sounds like it’s from 1981, not 1991.

The boyfriend starts killing people in the main girl’s life, as well as people who wrong her—like two guys that plan to rape her in the woods. Yeah, this movie is all over the place, and often in nightmare sequences.

Not to mention, the low budget but entertaining kills don’t start until twenty minutes before the movie ends. I’m not thrilled that I blind bought this on Blu-ray, but if I had originally seen it in the 90s when it hit VHS, I probably would have bought it for nostalgic reasons anyway.

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TUBI TERRORS: girls with guts

We all love horror flicks with damsels in distress, but does this trio of films deliver? Let’s find out.

THEY TURNED US INTO KILLERS (2024)

This is actually a sequel to the revenge film Room 9. I didn’t at first remember Room 9 enough to figure out how it ties into this film, but it quickly came back to me (thanks to flashback clips).

This is another revenge flick and stars Scout Taylor-Compton, who showed up at the end of Room 9. Here she is getting revenge for her friend who died after a night of partying with some guys.

At the same time, a hate crime from the first film is revisited as the Black guy who saw his mom killed by white men as a child recalls getting his revenge. Now he wants to team up with Scout.

It’s mostly all talk until there’s finally some torture at the end. There’s simply not a lot to cling to here.

THE DEVIL’S WORK (2024)

This is one of those films that appears to have been shot with one camera that follows all the action, and at first that perspective creates some great tension.

However, it isn’t long before the repetitive nature of the threat constantly appearing in the background to the sound of an ominous musical cue gets stale.

This sort of feels like a take on The Strangers home invasion concept. A couple vacations at a house, and within minutes a creepy looking woman begins lurking outside in the shadows.

38 minutes later, the woman finally starts doing some chasing.

The couple knows the woman, who is painted as mentally unstable, so the only thing that keeps you watching is the need to find what the backstory is between these three. Unfortunately, even that isn’t interesting enough to create momentum.

In the end I was left not understanding what the movie was trying to tell us…and I wasn’t sure if there was some sort of supernatural angle or just a visual manifestation of mental illness I was seeing.

GUTS ON THE CHAINSAW (2023)

This backwoods horror flick definitely has a vibe, even throwing in some documentary style flashbacks of hikers that have gone missing over the years, but it relies more on style than substance—and the style gets annoying after a while, with excessive slow motion sequences set to melodramatic music.

The paper thin plot introduces a young woman who was in rehab and a mental institution after what she believed was a real experience being chased by a psycho in the woods, but which she is being gaslighted into thinking was just a nightmare.

Sooooo…as part of her therapy she goes into the woods alone to hike. Sigh.

She meets some people along the way, from a weird hillbilly to a nice hiker dude who chats with her for a while.

Eventually she is chased by a psycho wearing a sack over his head, comes upon a house where she encounters a dude in drag, and then has a final battle with a big creep. This guy is like a freaky skin mask hillbilly and the highlight of the film. Eek! I loved him.

Unfortunately, the final battle is corny and involves hand grenades and some really bad CGI explosions, not to mention the main girl getting stabbed in the back at least a dozen times yet still having the strength to start a chainsaw.

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PS2 Playthrough: Hunter The Reckoning Wayward

The sequel to Hunter The Reckoning, which could support up to four players on Xbox, this sequel was a PS2 exclusive that only supports two players. I got through it with a friend two decades ago, but this time I did it alone. And now I can’t believe I have two more of these games to play when I revisit all my Xbox games. Blech.

In this game you can pick your character, and each one has different strengths. I always go for the biggest, sleaziest looking guy in the bunch and just keep building up his skills, but occasionally you might need to switch characters for one whose skills better suit a particular challenge.

The game starts you with a training mission, where you learn to use the excessive number of buttons to push in different orders to fight, move, jump, shoot enemies, pick up items, change weapons, etc. In an effort to give you the freedom to move and fight at the same time, the game makes a mess of having you use the left stick to move while using the right stick to aim independently. The results are so sloppy that aiming and moving together become a horrible chore. You’ll mostly use melee weapons because you can just button mash to set off various combos. Firing weapons suffer from terrible aiming issues, and you end up wasting more ammo than actually hitting enemies.

There’s a third weapon in your arsenal, and it’s called Edging. Um, the edging I’m familiar with is a whole different ball game, so to speak. I didn’t quite understand these powers and so I didn’t bother to use them.

There are also lit symbols on the ground that serve various functions, and there are too many to memorize. Most important is the one that refills your health, although those have limited usage, so use them sparingly, and the ones that give you a power boost.

As you kill enemies, they drop various items, as well as red or blue orbs that supply you with health and edging power. You can also save cowering survivors when you come upon them, which earns you continues, which serve as extra lives and will be desperately needed during certain boss battles.

There are several annoying aspects to the controls. For instance, you have to go into the menu to look at maps when you find them. Also, to back out of the menu you use the triangle, except when you want to back out of the first menu you are brought to, then it’s the start button. Consistency matters. You also can’t reposition the camera behind you, which is frustrating when you suddenly find yourself running back towards the camera and can’t see what is ahead of you. You also have the ability to zoom in and out incrementally or fast using the up and down arrows, but why you would ever want to shrink your scope is beyond me.

The game plays very much like the various Evil Dead games, with you just running through locations while being swarmed by hordes of zombies and other enemies as you try to accomplish missions like collecting items or releasing spirits. It’s a very repetitive hack n slash experience, which is why it’s more fun with a friend. You can also do side missions at the same time, search for secrets in each level, and find survivors to rescue to gain continues. Saving only happens at the end of each level, so the goal is always to make it through a level without dying.

The game actually has built-in cheat options after you beat it once, and although they were unlocked in the “trophy room” in my character’s apartment thanks to my old save from years ago, I have no idea how to input the codes and get them to work. Extensive researching online turned up the same non-answer every time. Half the information said to enter codes (including a cheat enable code) in the cheat menu, which is totally nonexistent, and half the information said to enter the codes during gameplay, which had no effect other than to make my character do what he does during gameplay when you press each button.

You begin the game in your apartment and go to each level using a map on the wall. Initially they’re all locked so you have to play the game in order. Once you’ve opened each level, you can go back into missions to try to find secrets you may have missed the first time through. Other times going back to previous levels is required…not that the game tells you that, which is why you need to use a walkthrough, otherwise you’re be clicking on every location on the map for an information screen that tells you what goals await you in the locations.

The first level takes place on the street, and it is strictly a search and find mission. Aside from the zombies, there are these spider buggers that blow up right next to you if you don’t shoot them from afar, taking down your health. There’s also a brief boss of sorts right in the middle of the mission. You also find a map for this area, which helps.

You don’t find a map for the second area, which is a sprawling cemetery in which you have to find two tall tombstones to destroy, with an option to release some spirits from their corpses while you’re searching. Other than zombies coming out of the ground, you fight some ghosts and two living gargoyle statues.

There’s a very short church segment where you basically just have to fight some enemies, destroy things in the church to find secret items, and then rescue a survivor.

The subway part is annoying. You have to find a CD hidden somewhere in the vicinity then go down onto the train tracks to get to the end of the level. But a subway starts chasing you (you’re running towards the screen), and of course enemies get in your way to slow you down, including the exploding spiders. Argh! There are also some giant rats here, and this should have been the first place they appear, but you do meet them first in an earlier level.

In the catacombs you just have to run around and find five skeletons to release their spirits, which is a challenge because they tend to blend into the scenery.

Next you have to escort a character through the downtown area to get her to her shop safely. She can fight, but you definitely have to help or she will die (she has a life bar). The annoying thing is that she doesn’t just keep running. She stops and fights all enemies, so you constantly have to turn back to help her out, and the fact that she’s not leading the way to her own shop is kind of ridiculous. You’ll often get to corners and not be sure which way to turn. There is also a new enemy here…the good old zombie dog, and it’s fast. This is like a double mission, because after you get the character to safety, you have to go back into the level and find 12 pieces of silver before you can move on to the next level. And this time through there are zombies that shoot at you. Argh! But wait. There’s more. You can’t find all 12 pieces in this level, but the game doesn’t tell you that. You have to go through several previous levels, and you’ll know which ones by clicking on “info” on the map for each section, which will show you which levels now have an objective of finding silver. This is also your opportunity to complete some other optional objectives in each area if you’re a completist, like finding parts for a grenade launcher and fighting a boss in the church…trick is, you need to know that you have to play the organ twice to summon him, otherwise he doesn’t appear. In other words…you need a walkthrough.

Once you collect all the silver, prepare for the longest 90 seconds of your life. You have to protect the woman who is making silver bullets for you at her work table. Zombies come at her from three sides. Ugh. Be warned, her health bar goes down fast! Before you even go up to her when you enter the level, make sure to run around the edges of the room and collect all ammo and weapons you can. Once you approach her the fighting starts and you won’t have time to grab items that far away from her. Later in the game you have to do this challenge again, for two minutes, with more enemies, including shooters.

The next section is a boss fight in a cemetery arena…a werewolf. Unless you have dozens of continues, I don’t see how you’d ever beat this boss. He pounces on you relentlessly and you aren’t fast enough to run away from him to create distance to shoot at him. At the same time, there are regular enemies roaming around taking cheap shots at you as well. If there’s any part of the game that will make you want to quit, it’s this one.

In the midtown area, you once again have to escort someone to safety. Argh.

The next level is a mechanic shop, and now you have to contend with harder enemies that take more hits to die, fricking robots that shoot bullets and fire at you, and some canisters that explode when you break them, but seem to do more damage to you than to enemies. And that sucks, because you still get items and necessary items from breaking canisters, you just don’t know which ones are safe to smash and which aren’t. Plus, be warned that when the level begins you are immediately being shot at and hit by a robot that is right above you on a platform. What a scam.

In an annoying effort to extend the game, you next have to revisit midtown and then the mechanics shop to retrieve bus parts, which are located at the very end of the level in both cases. So you have to fight your way all the way through these levels just to get to the end to grab the bus part and complete the mission.

The third bus part is found after defeating this mechanical monster that swings at you, shoots at you, and hits you with ground shakes, all while the robot enemies are regenerating constantly and beating your ass as you try to struggle to stay standing with moving conveyor belts in the way. Ridiculous and not doable without a Codebreaker cheat system.

The prison is fun. First you have to fight off loads of enemies while entering various cells to save 9 innocents. This includes a bunch of guards with guns and new hanging ghosts. Next section is the prison yard. Again, there are more shooting guards, and now you have to find 5 switches to turn on plus find all the “totems”, which are these skeletal things that serve as respawn points for enemies. It’s so satisfying to be able to shut down the respawning for a change.

Up next is another boss battle that is a harsh reminder that boss battles used to be ridiculous. There’s a flying witch and her respawning minions who are all just shooting at your relentlessly from every angle, on and off screen and even though glass walls as you try to target the main witch specifically. I don’t know how you were expected to defeat these bosses without cheats.

In the morgue, which is an optional level where you can get a chain gun part, you meet a new flying enemy that spits acid at you, as well as these dreary floating ghouls you have to kill to get keys to move on to the next spaces.

The next level is infuriating. First you need to pick one of the fastest characters, and second, that won’t even help you. You are placed in a series of hallways with quadrants. At the end of each quadrant there are two survivors. The goal is to touch six of them in total before this shooter who can just beam into the quadtrants shoots them. I kid you not when I say that in every quadrant, the dude shoots one survivor before you’re even all the way in the quadrant. On top of that, there are obstacles in the way and enemies impeding your path. You will play this section over and over until you know exactly where each survivor is so you can better steer directly for them when you enter each quadrant.

The next few levels are revisits of previous areas and clearly in place just to extend the game. Only now there are more enemies, including these annoying slugs on the ground and dudes with flamethrowers.

Finally you reach the tower, and you have to climb winding stairs, fighting hordes of enemies while trying to break down ghost barriers that get in your way.

The final boss is a bitch, because of course there are tons of regular enemies coming at you while you try to defeat him, plus he has an array of swing attacks and projectile attacks. He has two phases. The first can only be done by melee fighting, the second only with guns. It is utter chaos and the boss takes forever to die with even the most powerful weapons, so I don’t see how you could possibly beat him without cheats. This is yet another game I’ll be selling off on ebay.

 

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