Review: A/S/L

Recently I had the pleasure to watch a new horror short entitled A/S/L. Which for those in the know means Age/Sex/Location. Remember that old show to Catch a Predator? Which wasn’t about Dutch trying to catch The Predator. No, instead it was about luring pedophiles into a trap. The story of A/S/L concerns a nerdy married dude who gets drawn into the type of situations that would crop up on that show. But instead of getting busted, let’s say things get a more bit gory.

This was a pleasant surprise. There’s a uneasy feel to the short. Due to the subject matter. It helps the creepy feel. The actor and actresses where all good. The standout being a surprise cameo by Tristan Risk of American Mary fame. The short has a polished look to it. Would fit in on a horror anthology series. Another surprise was the gore effects. Not only was there a bit of the red stuff, it was nicely done.

If you get a chance check out A/S/L do so. It’s a cool horror short. I’m eager to see what this crew tackles next!

You can check out their Facebook here! 

Full Moon Friday Night # 3

Well, next week turned into a few weeks didn’t it. I was going to post last Friday, but do to a combo of being tired from work and not feeling well, that didn’t happen. Then I had a few reviews to write the next week. And then last Friday I was out of town. But it’s back this week with a follow up film to one I previously covered.

Witchouse II: Blood Coven (2000)

Director:  J.R. Bookwalter
Writer:  Douglas Snauffer
Staring:  Ariauna Albright, Elizabeth Hobgood, Nicholas Lanier, Andrew Prine

When four unmarked graves are unearthed at an old house marked for demolition  in Covington County. A universality professor and her students are called upon to identify the bodies in the graves. Too bad for them the bodies belong to Lilith LeFay and her Blood Coven. They begin interviewing local folks, Blair Witch style. Of course they warn the team off. During an experiment with Lilith's remains, her DNA gets into the prof’s blood. Oops! Bet you can guess what happens next. Yup, possession city. One by one, the students get taken over members of the coven. They plan on wreaking havoc on the town that killed them over 300 years ago. Can anybody remain unpossessed and stop them?

J.R. Bookwalter’s follow up to the first Witchouse is my favorite so far in the series. Still have to watch part three. So my opinion might change. It’s a fun mix of the usual “teens” in peril horror and a little dab of found footage horror. You can see Blair Witch’s influence all over this sucker. Before doing so was common place. The film opens with a cute Goth chick and her boyfriend getting killed while filming out in the woods. And there’s interview segments with the locals the feel very much like the ones from Blair Witch. Personally I wouldn’t have minded if they’d filmed the whole movie that way. I’m sure if it was made now it would have.

Overall a fun low budget horror outing. It’s nothing groundbreaking. But it's great for a Fall afternoon.

Full Moon Friday Night # 2

This week’s Full Moon offering has a surprising lack of puppets or little monsters. But it is the first in another series. Witchouse or Witch House or Which House? What ever floats your boat.

Witchouse (1999) 

Directed by David DeCoteau (as Jack Reed)

Written by Matthe Jason Walsh   

Starring Matt Raftery, Monica Serene Garnich, Ariauna Albright, Brooke Mueller, Ashley McKinney, Dave Oren Ward, Dane Northcutt

It’s May Day in the town of Dunwich, Romania. I mean Massachusetts! How could I have made that mistake. And we’re really going with May Day here as our horror movie holiday? We must be running out. Anyways, Goth babe Elizabeth invites a bunch of her “friends” to a special May Day party. The way her “buds” talk about her I can only assume they were the kind that picked on her endlessly. But considering why Liz has them there, it makes sense. Good old Liz is a descendant of a witch named Lilith who was burned at the stake on the day three hundred years ago. Elizabeth hopes to resurrect her dead evil ancestor by sacrificing her guests. Also, fun party games!  

Going in I didn’t know this was a David DeCoteau film. Sneaky disguising your name as Jack Reed sir. Or else I’d been expecting shirtless dudes in their underwear. Not surprisingly there’s a shirtless dude in his underwear, though not a whole ton as you’d expect. One of said dudes in this film would later be a Power Ranger! So, bonus points there.

The location they used for the house was cool looking. Very unique. At the same time it also screamed: Hey! We’re filming this in Romania! It’s not Massachusetts. Still as I said, it had a cool look. There’s a bit of stock footage thrown in for flashback scene. It looks to have been taken from Full Moon’s Dark Angel film.

The story is cliche as all hell. They did everything but have a cat jump out. BUT you know, I dug it. The film has a warm, comfortable feel too it. For a film with people getting killed by a demonic witch. But yeah, I enjoyed it. The acting and story aren’t going to win any awards, but the film was fun, funny at times and moved at a good pace. I was never bored. At times it felt like a Night of The Demons film. Not a bad thing if you ask me.

Next week...

Full Moon Friday Night # 1

Puppet Master (1989)

Directed by David Schmoeller

Written by Kenneth J. Hall and David Schmoeller

Starring Paul Le Mat, William Hickey, Irene Miracle, Jimmie F. Skaggs, Robin Frates
Matt Roe and Kathryn O'Reilly

Peeping Blade

Welcome to the start of a new semi-regular feature around here. Maybe. Depending on how lazy I’m feeling. With Full Moon Friday Night, I intend to watch a film from Charles Band’s Full Moon Features every week or so and post a review of it Friday. And perhaps some Empire stuff as well. As I said, not sure if it will be every Friday, depends on my schedule and shit.

In 1983 Charles Band formed Empire International Pictures. The company produced a plethora of low-budget horror, Sci-Fi and fantasy films including Trancers, The Dungeonmaster, Re-Animator, From Beyond, Dolls, TerrorVision, Troll, and Ghoulies. Eventually financial problems caught up with Empire. Which led to Bankruptcy. After Empire’s collapse, Band formed Full Moon Productions. This time he was partnered with Paramount Pictures and Pioneer Home Entertainment for direct-to-video releasing on VHS and Laserdisc for all Full Moon’s releases. Instead of making films for a theatrical release. Band would make low budget, theatrical looking movies for the growing home video market. All this leads us to today’s film. Full Moon’s first production. Puppet Master. Because If I’m going to start somewhere, might as well start at the beginning.

Is that a pube on the print? 

In Bodega Bay, California 1939, old dude puppet maker André Toulon (William Hickey) is on the run from some Nazi guys and hiding out at the Bodega Bay Inn. He’s hanging out with some living puppets. Jester, Blade and Shredder Khan! With the Nazi’s closing in, Toulon hides the puppets and plays a quick game of Russian roulette. Spoilers he loses.

It's the Miracle

Cut to the present day. 2017? Oh, 1989. Anyway. Four psychic friends, Alex Whitaker, Dana Hadley, Frank Forrester and Carissa Stamford are summoned to the Bodega Bay Inn via psychic text message by Neil Gallagher. Carissa can touch an object and know it’s history. Frank has the power of sleazy pony tail. Dana is a witch and part time bitch. Or is that the other way round? And Alex has an amazing helmet of hair. Plus he get premonitions in his dreams. Gallagher is an friend of theirs who was searching for Toulon’s secrets. The four assume he’s found them. But when they arrive at Inn Neil’s wife Megan tells them he’s dead.

The password is fidelio

The group settle in for the night. Deciding to stay and figure out what the hell is happening. But they’re not the only one’s there. Some of Toulon’s puppets are scurrying about the inn, spying on the new guests. Who’s controlling them? What happened to Neil? And can Alex’s hair get anymore magnificent?

The one that started it all! It was a big hit for Full Moon. Spawning a entire series of puppet films, not to mention inspiring some of Full Moon’s other properties. I’m looking at you Demonic Toys.

Majestic

Puppet Master all these years later is still a blast. Although it spends most of it’s time focused on the psychics and Neil, making the puppets sort of secondary. It’s still an enjoyable viewing experience. The film always moves along at a good clip, even if the puppets aren’t on screen.

The score by Richard Band reminiscent of his Empire work, a good thing! I’ve had the Puppet Master theme in my head for years. When ever I think of the franchise or Full Moon in general that theme pops into my head.

Papers please

There’s nothing like some good old Stop motion. The late David Allen created the stop motion effects for the puppets. Each of the puppets feels alive. And each feels like it has a personality. When the puppets aren’t stop motion they’re still pretty damn good.

Oooo. Sprechen Sie sexy...

That brings me to the characters. Except for Dana, played by the awesome Irene Miracle, no of them really stand out. She has a fun little scene involving fortune telling with Barbara Crampton in a cameo. Dana is a cynical witch and her character is the most fun through out the film. Alex is your typical hero type. Really not much going on there, except for that awesome hair. Frank is sleazy and that’s about it. Carissa is the hot librarian type. Okay, I like Carissa too, for um… Different reasons.

Big hands Big um...

If you want to jump into the huge lake that is the Puppet Master franchise, this is the place to start. Not the best of the series. And the puppets aren’t as much of a presence here. But it’s where it began and has it’s moments.  

A Swingin' Review

Here's Daniel XIII from Famous Monsters with groovy new review!

THE SWINGING CHEERLEADERS
• RELEASE DATE: Available Now on Blu-ray/DVD Combo
• WRITTEN BY: Jack Hill, David Kidd
• DIRECTED BY: Jack Hill
• STARRING: Jo Johnston, Cheryl Smith, Colleen Camp

 Sometimes I sit back and think to myself; “Daniel XIII, you just don’t get to review enough flicks where a spunky lady goes undercover as a cheerleader to expose corruption on campus”. O.k.; ya saw right through that…I have never thought about that; not even as I thought it up and wrote it down…which is strange I admit. Anyway; let’s take a look at a film that deals with that very subject; THE SWINGING CHEERLEADERS!
 Since I’m assuming that you don’t start reading a review by skipping the first paragraph; you already know the basic gist of the story of this here flick; but let me expand on that a bit. When intrepid college reporter Kate goes undercover as a cheerleader to expose the denigration of women in ‘contemporary’ society she ends up with an even bigger scoop; namely a betting scheme perpetrated by the team’s coach and his academic chums.
 Along the way we are treated to boobs and babes (and babe’s boobs) as you would expect, but along with the (puritanical by the standards of today) nudity, director Jack Hill (SPIDER BABY, SWITCHBLADE SISTERS) plays with preconceived notions in a fascinating way. Take for instance the usual trope of the one-note lunk-head jock and the campus radical. In THE SWINGING CHEERLEADERS the athletic types are presented as fully nuanced characters; kind and chivalrous (some burdened with troubled pasts), while the normally peace-nik, tree huggin’ radical is a truly despicable rapist. The plot itself changes on a dime as well; running the gamut from feminist social commentary laced drama to outright slap-stick comedy. All of which keeps the proceedings fresh in what could easily be just another drive-in skin flick in less sure hands.
 While the main feature is entertaining enough; the extra features present on this release aren’t too shabby either! Along with a new 2K restoration of the film, you also get a brief interview with director Jack Hill (along with a newly recorded, informative and lively commentary track by the same), archive interviews with cinematographer Alfred Taylor and Johnny Legend (also featuring Hill), an archival Q&A session (with Hill and stars Colleen Camp and Rosanne Katon, and a few TV spots.
 If you are a fan of Jack Hill’s other films, then I can guarantee you will enjoy this one as it contains many of his signature themes (strong female leads, deft blending of multiple genres to tell an entertaining , socially conscious story). On the opposite end of the spectrum; if you are a neophyte to the man’s work, this is a good place to start as at its core, the flick is pure genre exploitation (with kernels of social commentary for those willing to look beyond the titillation). In either regard; I recommend this flick to all lovers of drive-in cinema! 

I Can't Wait to Hear You Scream!

Check out my super-duper guest review of Scream The TV Series with good old fiend Daniel XIII over at Famous Monsters. 

Not A Film About Stone Cold Steve Austin

Another review from that fiend Daniel XIII. Check him out over at good old Famous Monsters. 


WHAT?
• RELEASE DATE: Available April 26th on DVD
• WRITTEN BY: Gérard Brach, Roman Polanski
• DIRECTED BY: Roman Polanski
• STARRING: Marcello Mastroianni, Sydne Rome, Hugh Griffith

 Reviewing a film by a reviled sexual deviant is never going to be an easy thing; just separating the art from the artist can be tricky enough, but when said film revolves around the sexual misadventures of a young woman abroad…well, let’s just say there’s going to be an element of “squick” involved. So with that lil’ disclaimer, let’s dive into the new Blu-ray release of Roman Polanski’s WHAT?
WHAT?, besides having a truly ludicrous title, is a film about an American woman named Nancy (Rome) who gets stranded at a bizarre Mediterranean villa after an attempted gang-rape. Upon arrival, she is immediately dry humped by a massive dog. How much longer does this film have to go? Nearly two more hours? Fuck me.

 Anyway, as the nonsense train keeps a rollin’ down the tracks you get a rando collection of horny characters that make absolutely no sense, random piano duets, a buried treasure containing some sort of Napoleon costume, massive bush that resembles a face-planting Crite…and on and on it goes,
Is WHAT? A bad film? No; it’s crazy, disjointed, filled with Alice in Wonderland allegories… but it’s entertaining enough if you love tits and absurdity in equal measure. And, since it’s filmed by a competent director there are some gorgeous shots not to mention the cast seem to be enjoying themselves.

 As for the actual release itself, Severin provides a pretty damn sharp looking transfer for the feature that makes those island locales really pop. Also included in the package are interviews with star Sydne Rome, Composer Claudio Gizzi, and Cinematographer Marcello Gatti. The theatrical trailer and a presentation of the film with its Italian soundtrack round out the package.
So there you go; while this film wasn’t one hundred percent my bag baby, and while I find Polanski a turd of a human being (a talented turd, but a turd all the same), I still found this release had plenty to offer for fans of off-kilter, surrealist sin-ema!

-Daniel XIII

Is It Sexy?

Another review from our good fiend Daniel XIII!

THAT’S SEXPLOITATION!
• RELEASE DATE: Available April 26th on Blu-ray
• WRITTEN BY: Frank Henenlotter
• DIRECTED BY: Frank Henenlotter
• STARRING: Albert Cadabra, Gal Friday, David F. Friedman

Holy cats do freaks today ever get a walk down easy street. To what am I referring I hear you query? Why the ease in which one can obtain ye olde wankin’ material; a.k.a. the porn. Ya see, in the far gone days of my misspent youth, we took our titillation where we could get it I tells ya. A discarded Playboy found along the side of road here, a scrambled adult channel there; hell e’en the ladies nightgown section of the Sears Wishbook was fair game. And now? Well one button click brings up more sexy time than you could enjoy in a lifetime (though you’ll be damned if you won’t try and squeeze it all in I’m sure).

 Anyway, our parents and grandparents fought the same noble fight we did in regards to getting’ our rocks off; a point vividly illustrated in the flick we are checkin’ out today; Frank Henenlotter’s ode to T and A of years gone by THAT’S SEXPLOITATION!

 Introduced by good ol’ F.H. himself (a genial guide to be sure); THAT’S SEXPLOITATION! soon turns the focus upon David F. Friedman (a producer responsible for an absolute butt load of vintage smut). While seemingly frail, Friedman never the less takes great delight in guiding us from the days of the roaring 20’s pre-Hays code frolic all the way up to the 1960’s anything goes boobs and drug fueled (although plenty of chemical reasons are given for the libidinous behavior in the flicks featured from other decades as well) freak-outs. Along the way we are treated to nudist colonies, educational films (oh 1950’s you even managed to suck the fun out of skin flicks with your pole up ass ways), a horny ape or two, some pigeons (???), an invisible man, a Frankenstein monster cutting a rug (damn those pigeons seem totally logical now), plastic cowboys and Indians tangled in a voluminous bush, a Batman parody (Batpussy ‘natch), and oh so, so, so, much more.

 Why did I use so many “so”s above? Well, clocking in at a wafer thin 2 hours and 16 minutes, THAT’S SEXPLOITATION! is absolutely packed to the randy rafters with a non-stop flesh parade (and to be fair a rather thorough examination of the genre as a whole). Now, for some folks that run-time is going to be a bit of a hurdle; but honestly if you pick up a title like this chances are you wanted to see roughly 4,568 titties anyway, so wish granted and all that.

 If you still aren’t satisfied after the main feature, why not try your hand (hahaha…yeah baby!) at lasting through 3 and a half hours of vintage blue movies that are included in this release as well (remember how in every review of a Severin release I talk about how much they love their target audience? Well, this proves my point once again!)? Also included is a lively commentary by Henenlotter and Something Weird’s Lisa Petrucci on the feature.

So there ya have it; if you love vintage smut this is a must have; it’s most likely the most complete documentary that will ever be produced on the subject; plus with that bevy of bonus boobs ya just can’t go wrong (blind maybe, but never wrong)!

-Daniel XIII

Sex Down Under

Here's a review by an old friend of The Mission.

FELICITY

• RELEASE DATE: Available March 29th on Blu-ray
• WRITTEN BY: Diane Lamond, John D. Lamond
• DIRECTED BY: John D. Lamond
• STARRING: Glory Annen, Chris Milne, Joni Flynn

 Today we turn our gaze upon a sheltered young woman finding her way far away from home in the big city as she attends a prestigious university and discovers all the laughs and tears that life has to offer. What’s that? I’m not reviewing beloved J. J. Abrams series FELICITY? This is an Australian erotic flick that would be right at home playing on 42nd street in the grindhouse era? Thank Dagon. I hated that dog’s arse of a series, but I love nakey flesh which apparently this flick has in spades, so let’s hop into the sack with FELICITY!

 Felicity (Annen) spends her days as a student in a draconian monastery; a dire existence made a bit better by near constant soapy hot showers, leering at her naked friends, and much Vaseline-lensed strippery. One fine day a letter from her sister arrives beckoning her to Hong Kong; and one ultra-horny plane ride later she arrives.   Before long she is on a non-stop erotic tour of the exotic locale courtesy of her guide Me-Ling (Flynn), a woman who is about as Chinese a plate of Bratwurst. Constant nudity ensues.

 More a series of sexy vignettes than an actual narrative, FELICITY is never the less an engaging flick. It’s gorgeously shot, and well-acted to boot, but its main drawback, for me at least, is that it’s basically a soft-core porn flick, and I’ve never understood the point of those. I mean, if you are in the market for that kind of “entertainment”, why not just go all in and travel the hardcore highway? But that’s all subjective of course.

 Now that we’ve seen what the feature has to offer let’s lay bare the extras included with this hot tamale! I have to just come right out and say it; Severin really loves their customer base like no other! Seriously, the bonus content on here goes above and beyond; you get a commentary for FELICITY, two additional full-length flesh flicks from die-rector Lamond (both with commentary tracks as well), ABC’S OF LOVE AND SEX…AUSTRALIA STYLE (a porntastic documentary that runs through the alphabet of carnal delights), and AUSTRALIA AFTER DARK (a mondo style documentary of all that was wicked and wild in Australia four decades ago).  Rounding out the package are outtakes concerning the work of Lamond from the documentary NOT QUITE HOLLYWOOD, and some trailers.

 In short, if you dig on other exploitation erotica of the time period such as Jaeckin’s EMMANUELLE or STORY OF “O”, then FELICITY (especially this edition of it) will be a worthy flick for you.

Daniel XIII

There's some kinda love And there is some kinda hate

And now a very special review by a  fiend of the blog  Daniel XIII!

SOME KIND OF HATE

• RELEASE DATE: Available September 18th on VOD, iTunes, and in Theaters

• WRITTEN BY: Brian DeLeeuw, Adam Egypt Mortimer

• DIRECTED BY: Adam Egypt Mortimer

• STARRING:  Grace Phipps, Spencer Breslin, Lexi Atkins, Ronen Rubinstein, Sierra McCormick

 All right! Someone made a film based on that kick-ass Misfits tune…I mean I don’t know how they did it, that song is about 2 minutes long, and the movie runs over 80; but hey, it’s not like Hollywood is afraid to stretch a wafer thin premise to obscene runtimes, but this may be a bit much. Oh well, I’m sure it’s slavish to the source and a real treat for ‘Fits fiends.

 SOME KIND OF HATE has nothing to do with that Misfits song. Nothing at all. Hell, they even spell the title wrong, and there isn’t even a single “Whoa-oh” in the whole damn thing. What it does have is a sad sack ultra-bullied dude named Lincoln (Rubinstein) who sticks a fork in a major douche (not to see if he’s done, mostly just to F up his day) and promptly gets his ass sent to a hippie-dippy reformatory commune where he is then bullied by e’en more douches. Before you can say Moaning Myrtle, ol’ Lincoln is getting’ a lil’ MY BODYGUARD action from the compounds very own sprit of vengeance; a revengeful ghost by the handle o’ Moira (McCormick). 

  SOME KIND OF HATE is a nice lil’ supernatural time waster; slick as snot, drippin’ with a fair amount of the red sauce, and featurin’ a ghostly girlie with a penchant for self-mutilation; it’s a fast movin’ flick that ne’er overstays its welcome. It’s a tad lightweight (e’en with the uber-topical bully plot), but I think most of you horror-hounds will enjoy it for what it is. Oh and for what it’s worth, I could go for another few go-arounds for ol’ Mutilatin’ Moira…hell I e’en came up with some titles and concepts; Moira returns, and is joined by 137 other vengeful spirits in WE ARE 138 and of course; Moira returns one final time to bring justice to two doomed lovers in LAST CARESS! 

Michale Graves The Lost Skeleton Returns Review

by Daniel Th1rte3n

It's about this time every year that I wax nostalgic about my first Misfits show, way back in the distant past of the summer of 1997. The American Psycho album had just come out, and the Misfits took to the road to promote the material and their new line-up (consisting of new vocalist Michale Graves and drummer Dr. Chud along with Jerry Only and his brother Doyle). The resulting shows proved that Graves was more than a worthy replacement for the legendary Glenn Danzig. American Psycho and its follow up Famous Monsters went on to become beloved classics of the genre embraced by legions of horror punk fans worldwide.

But, as is so often the way, some things are never meant to be forever. In 2000, Graves left the band and began a solo career that took him away from the horror punk sound (but not some of the dark themes contained therein) that made him famous, as he grew and matured as an artist. Over the course multiple releases, Michale defined a new sound and approach that was as iconic as his work with the Misfits, albeit in a more socially conscious vein (with the exception of some tracks from 2005’s horror flavored release Punk Rock is Dead)

With this week’s release of Michale’s latest album, The Lost Skeleton Returns, Graves has returned to the genre that started his career with a vengeance. Each of the albums 16 tracks (10 rerecorded tracks that span his career as a horror punk artist, and 6 new tracks in the same style), crackle with the kind of energy that informs the listener that Michale is having a blast revisiting his roots while at the same time applying all that he has learned in the intervening years. For example, compare any of the new versions against their original counterparts; while the originals had a vibrancy and power, the new recordings refine those qualities while adding subtle nuances of voice that make them sound surer and mature. That being said, I do not prefer one version over another, rather I believe that comparing and contrasting the work makes me appreciate it even more.

As for the new material, it is excellent and would be right at home in any Misfits fan’s iPod. Songs such as Last Man on Earth, Something Wicked and Lost Skeleton will make worthy additions to Michale’s considerable live repertoire (a tour in support of the album has been announced with dates forthcoming).

I strongly urge any horror punk fan to pick this up immediately, and celebrate a long summer of rock n’  roll nightmares! To purchase the album, please head here: http://hydraulic-entertainment.com/shophyrdraulic/and to keep up on all Michale Graves related happening be sure to follow him on Facebook (https://www.facebook.com/Michale.Graves?fref=ts) and Twitter (@MichaleGraves)

Femme Fatale Friday: Joanna Angel

Something different this week. Here's old pal Indrid13 with a review of Evil Head and some pictures of one of it's stars. Joanna Angel. Enjoy!

By Indrid13

When I first heard that there was going to be a porn version of Evil Dead entitled Evil Head, I was intrigued. How would Evil Dead, one of my favorite films as well as one of the least sexy films ever made, make the transition to the world of adult films? My curiosity would have to wait to be satiated however, for after seeing a promotional still a few years back, news about the project fell silent.

 Years past until finally, a month or so ago, I began to read information that the film was completed, and ready to be released. So after all this time, was the finished film worth the wait? In my opinion, yes!

 First of all, credit must be given to director Doug Sakmann, who is obviously a huge fan of the Evil Dead series, right down to its idiosyncratic minutiae. While any porn parody can ape the general storyline of whatever media it is based upon, how many would go so far as to include camera set ups and shots that mimic the original source material? Raimi’s bizarre insert shots and close-ups, not to mention the fan favorite elements of the Evil Dead films such as the insane continuity errors (in this film represented by wardrobe changes highly reminiscent of elements in the original films such as the “Fake Shemps” (actors playing Deadites that bore no resemblance to the actor’s playing the pre-possessed victims )in Raimi’s first film, as well as the ever changing level of grime that coats Bruce Campbell’s Ash in Evil Dead II, are well represented here.

The actors are vastly entertaining as well. Tommy Pistol’s Ash is a wonder to behold, with all of the goofball charm, hammy over the top line delivery, and amazing physicality that made Bruce Campbell’s Ash a horror icon. Joanna Angel (whose Burning Angel Entertainment released the film) seems to be having the time of her life as Linda, especially after she undergoes her Deadite transformation, as does Kleio as Shelly. The main cast is rounded out by Danny Wylde as Scotty, who manages to be less of an annoying ass than the original Scotty while at the same time mimicking his mannerisms. Additionally Veruca James and Dana Dearmond show up as Ash’s undead ex-girlfriends and in a great bit of horror film fan service, the one and only Lloyd Kaufman provides the voice of Professor Knowby on the tape recordings that start the whole demonic mess (and mentioning Kaufman, how has someone never made a Toxic Avenger porn? Troma alum Sakmann, would be perfect for the job!).

But faithfulness to the source material is only one half of why you would watch a film like Evil Head. On the sex side we have a myriad of familiar situations, a threesome involving Ash, Scotty and Linda (which features some genuinely hilarious dialog that I assume was ad-libbed), a scene between Deadite Shelly and Scotty, a girl on girl scene between Deadite Linda and Shelly, a scene involving Deadite Linda and Ash, and a foursome involving Ash, Deadite Linda, and two Deadite ex-girlfriends.

Burning Angel prides itself on featuring gorgeous tattooed women in their films, and this is no exception, even when the ladies are buried under tons of demonic make-up and gore.  And while we are on the subject of the more unconventional aspects of this film, I can state that yes, Shelly does indeed have sex with the possessed trees of the forest! Also, in a nod to Evil Dead II, Ash loses his hand to a self-inflicted chainsaw wound, and proceeds to utilize the stump in every scene that follows to great comedic effect!

An aspect of this film that I feel should be mentioned is the Mickey Rooney style “Hey gang, let’s make a movie!”  vibe that is pervasive throughout the production. The cast seem like they are great friends, getting together to pay tribute to Raimi’s masterpiece, while having a hell of a lot of fun along the way. In an essence this ties the film even closer to its source material, as Evil Dead was created in much the same manner.

While this type of film will not appeal to everyone, adult fans of Evil Dead should definitely consider adding this film to their collection. It’s filled with all the gore and laughs fans of the series would expect, while adding heaps of sex! Now, here’s hoping Sakmann and crew make Evil Head II as well as a version of Army of Darkness (Medevil Head)!

(Screener provided for this review)

Living the American Nightmare review

The new documentary from director Pawl Bazile, entitled “Living the American Nightmare” sheds an unflinching eye not only upon the hard road travelled when one dreams of being a successful artist, but what can happen when those dreams are fulfilled.

The film focuses upon multi-talented performer/artist Myke Hideous who has done his damnedest to overcome every obstacle (and believe me, there are unbelievable obstacles this man has faced; everything from addiction to cancer!!) placed in his path in his goal to become a rock n’ roll success story, albeit on his own terms. Operating within the niche musical genre of horror based rock n’ roll, Myke became an icon within the scene (especially on the east coast). From his days fronting The Empire Hideous (whose controversial stage theatrics including self-mutilation cost them an important record deal with Roadrunner records and a touring slot with Type O Negative, whose members, including the legendary late vocalist Peter Steele, are interviewed extensively in the film) to his work with Overkill bassist D.D. Verni’s side project Bronx Casket Company, Myke has always been teetering on the cusp of stardom.

 Myke finally receives the chance of a lifetime when he is asked to join the godfathers of the horror punk scene, the Misfits. Learning an incredible amount of material in a scant two weeks, Myke embarks upon a legendary series of dates with his (and as anyone that knows me can attest, mine as well) idols. Facing unruly crowds and sudden alienation from his band mates, Myke still manages to give electrifying performances in front of some of the largest crowds the band has ever played in front of, only to be let go when former vocalist Michale Graves returns to the band.

Throughout the film, you get the sense that Myke considers himself a failure, although I would wager that anyone watching the film would disagree wholeheartedly. Myke has an incredible track record as a creative tour de force having done everything from fronting three radically different bands (the goth influenced Empire Hideous, the more rock based Bronx Casket Company, and SpySociety 99 which recorded material Myke originally conceived for the Misfit’s follow up to 1997’s American Psycho), to touring with the most popular band the genre has ever produced (rivaled only by Glenn Danzig’s solo endeavors and close behind, Type O Negative),  to creating a vast body of illustrations and paintings (not to mention beating cancer, and overcoming substance abuse).

  Living the American Nightmare is touching, poignant and insightful as it examines the life of a man not dissimilar to anyone hoping to make a name for themselves (as well as a living) within the arts. I could relate to Myke’s struggles as he held onto a dream and aesthetic vision even when things went irrevocably downhill. The film concludes with Myke making an exit from the music scene, but one is left with the feeling that his journey has only just begun, and after getting to know more about him, I’m anxious to see where that path may lead!

To find out more about Living the American Nightmare go here: http://livingtheamericannightmarethemovie.com/

by Daniel Th1rte3n

Silentium Amoris album review

by Daniel Th1rte3n

The newest release from William Control derives its title, Silentium Amoris, from the poem of the same name penned by Oscar Wilde. It is fitting that William has referenced Wilde, as the album can be interpreted as a concept piece, dealing with Wilde’s tragic love affair with Lord Alfred Douglas, and subsequently as the tracks unfold, parallels can be drawn to William’s love affair with creating music, and all the strife that accompanies the life of an artist.

The album begins with the track Achtung, a reading from the works of the Marquis de Sade that sets the tone of the album precisely; we must bring our attention to what we perceive as virtue or vice, and through careful examination of both can we find our true selves. As taken as part of the overreaching tale of Wilde’s story, the piece seems to be a mirror held up to the rigid Victorian society; a society that viewed homosexuality as a crime (of which Wilde was found guilty, leading to his incarceration for two years under hard labor), to face their prejudices and antiquated mores.

 “We Are Lovers”, details a journey from England to France, much like the Exodus made by Wilde after being released from prison. The piece starts somber and nihilistic; perhaps as a reference to the doomed love shared between the author and Lord Douglas (the aristocrat all but abandoned the author after the affair was revealed). The chorus describes the addictiveness and destructiveness of love, which may also be in reference to William’s love of creating art, no matter the personal (or even financial) toll. The second verse tells of a further journey into Europe, and describes dire conditions perhaps as if the continent continues to suffer for the injustices that have been visited upon the undeserving.

As the album continues to progress the dual theme continues to become stronger, as “Kiss Me Judas” and “I am Your Jesus” enforce the pain that an obsessive love can inflict, and how love (and art) can become a kind of neo-religion (much like the beliefs of Aestheticism, who’s members, Wilde included, held art supreme) albeit based on one’s own creative talent rather than antiquated ideals.

The Velvet Warms and Binds could at first be seen as tribute to sadomasochism (a subject often visited in William Control’s work), but upon further listening it seems to become a testament to how creativity can abuse the creator. The sweet, uphoric feeling of having created art can in turn become a prison, as more art needs to be created no matter the cost (financial or mental). “Letters to the Other Side” further explores this concept of creation as addiction, although this piece appears to be more auto-biographical.

  “Come Die With Me” as viewed within the framework of Wilde’s story appears to be the author’s trying to reconcile his two passions, Lord Douglas and writing. The listener is never sure which of the two will take the full measure of the author’s heart, and that is what makes the piece so compelling to the listener.

 “Atmosphere” is an excellent cover of the Joy Division classic, and as it fits into this work could serve as Wilde’s pleas to Lord Douglas to not abandon him when he needed him most.

 “Omnia Vincit Amor” translates to “Love Conquers All”, and along with its companion piece “Romance and Devotion” (available for preview here:  http://www.altpress.com/news/entry/william_control_aiden_streams_new_song_romance_devotion) explore how love demands absolute obedience to its capriciousness. It matters naught if the love is for a person or an artistic ideal, in the end we become as to slaves to its inexorable draw and power.

“True Love Will Find You in the End” is another exquisite cover from William, this time of a Daniel Johnston song. The song seems to be the crying out of a lover abandoned on his deathbed. Apropos for Wilde indeed, as he died alone and destitute in Paris; his aristocratic lover long since removed from his existence.

 “Failure of all Mankind” seems to the listener to be about the remaining legacy of Wilde’s creativity left to be discovered by new generations, long after his body has faded from the world, a world that at first loved and worshipped the man, then left him to rot after society found him to be something they found distasteful. Alas the same can be said of many artists and creators, past and present, and the cycle will continue into infinity. Creators become unto gods, gods which are then revealed to be all too mortal in the end, abandoned by their disciples and left to bleed upon the altar of society.

The album ends, fittingly enough, with a reading of Wilde’s poem. William always gives such readings respect and gravitas, and this track is no exception. (If you enjoy this track, I strongly urge you to purchase William’s readings of selections from Poe’s immortal works available here: http://williamcontrol.bigcartel.com/product/edgar-allan-poe-read-by-william-control)

 I strongly urge you to pick up “Silentium Amoris” when it is released on April 2nd. The album can be purchased here: http://williamcontrol.bigcartel.com/. Also beginning April 5th, William will be playing live on the Fight to Unite Tour, details of which can be found here: https://www.facebook.com/thefighttounitetour

Obscure Pleasures Private Peep Show single review

By Daniel Th1rte3n (Formally Indrid 13)

One of the aspects of writing for The Cathode Ray that I enjoy is being able to discover and explore new musical endeavors that may not be familiar to our readers, and in turn allow said readers to enjoy these artists for themselves. Such a group of artists is Birmingham England’s Obscure Pleasures, whom indulge the listener in dark panoramas of electronic sensuality.

Obscure Pleasures are on the verge of releasing their new single Private Peep Show, and it is a fascinating microcosm of libertine sexuality set to an irresistible beat evocative of the decadent 1980’s (as well as the 1780s).

The track begins with a short interlude of ambient sound, that evokes a sense of entering a new world, a world a bit darker than that which we may be accustomed. As the song proper starts, it takes on a tone that brings to mind not only Bauhaus, but also the soundtrack work of John Carpenter, while still remaining fiercely unique.

The vocals, both warm and raw, offer a dichotomy (especially in contrast to the electronic soundscape) that perfectly suits the songs overall theme: that of pleasure and pain being inexorably linked. The Marquis de Sade once remarked; “It is always by way of pain one arrives at pleasure”, and this track could stand as testament to that aesthetic. The lyrics make beautiful poetry out of a subject that to some may not be suitable to their palette, and yet in turn the listener is compelled to listen regardless of where you derive your source of pleasure from.

As the piece progresses, it once again reinforces its dual nature, as the electronic gives way to strings (which in turn elicit a sense of 1780’s libertine leanings, mixed firmly with 1980’s glamour and debauchery).

As the track comes to end we are offered a somber piano litany as the lyric “All I want is you to suffer, all you need from me is pain” echoes with both malice and tenderness. And therein we find the challenge to ourselves. Where do these lines blur within us, and how do we chose to express it?

To learn more of Obscure Pleasures, please visit: https://www.facebook.com/obscurepleasures

Private Peep Show will be available for digital download on 1/30/2012

If you live in the London or Manchester area, catch Obscure Pleasures on tour with William Control on February 6th and 7th!

One by one an A to Z trip through my dvd collection

17 Again (2009)

Director: Burr Steers
Writer: Jason Filardi
Stars: Zac Efron, Matthew Perry, Michelle Trachtenberg and Leslie Mann

Well it's been awhile since the last one but what the hell.

First things first. I got this DVD for two (Three if you think about it.) reasons. It was cheap and Michelle Trachtenberg. Like a moth to a flame or a fool and his money...

The film opens in 1989, with young Mike O'Donnell (The always effeminate Zac Efron) getting ready for the big game. He's the star player on the high school basketball team and is hoping to impress some big shot talent scout.  Isn't that how it always goes in this type of movie? Anyway, Cut to the big game and all is looking swell, until his girlfriend shows up. She whispers something in his ear and he goes back to the game. She leaves and he decides to ditch the game and follow her. Turns out she pregnant. We're then meet grown up Mike (Matthew Perry), he's split from his wife, estranged from his kids, living with his nerdy best friend Ned (Thomas Lennon) and fired from his job. So, everything great right? Mike does what any middle-aged guy about to get divorced does, goes to his old high school to pick up teenage girls! Okay, so that's not why he's there. No, he's there because it was the only place where he was special. I guess, I'm not really sure, but I like my hitting on teenage girl's theory more. Anyway while he's looking at his high school photo, an old janitor asks him if he wishes he could be 17 again, hey it's the title of the movie! Anyway, he says yes. While driving he sees the same janitor on a bridge, the janitor jumps  and Mike jumps in after him. Before you can say Kazaam! Mike wakes up the next day as Zac Efron. What follows is just what you'd expect. A big game, a new understanding of his family, his life and the usual antics one finds in a film like this.

I know, this may sound like I've done some crack, but...I enjoyed this movie. It's no better or worse then similar themed films from the '80's. Going into it with next to zero expectations of being entertained, I was. It wasn't laugh out loud funny nor original, but it held my interest throughout it's running time. Not anything I'd rush to watch again anytime soon, but it entertained me for an afternoon.

Besides...

I mean really. Too bad she didn't dress like that in the film.

Review: Novus Ordo Seclorum

By indrid13


William Francis has never been afraid to expose his listeners to new perspectives on universal subjects such as love (and its close relationship with pain), theological hypocrisy, and art’s role as a belief system (not unlike the 19th century English movement of Aestheticism, which counted Oscar Wilde amongst its members). On “Novus Ordo Seclorum”, the latest William Control release, Francis has taken these themes to exciting new places, once again holding a mirror to a vain and narcissistic society to reveal the decay that festers just below the surface.

The album begins with “New World Order”, a rough translation of the Latin phrase that comprises the EP’s title. This track is a call to arms for the listener to change their perspective on the world. Society isn’t working the way as intended; people are led astray (and in turn made to suffer) by leaders whose only beliefs are in currency and antiquated ideals. In this track, it is mentioned a poet should be called upon to reshape society, which brings to mind the philosophies of Aestheticism mentioned above. The tempo is kept fast for most of the piece, and William’s voice is rich and full against the keyboards, once again providing an excellent series of contrasts that I feel is the hallmark of his sound. The almost chanting backing vocals offer the perfect complement to the subject matter, as they underscore William’s words of a new faith based on creativity.

Next is “Disconnecting”. This piece is almost Shakespearean in its themes of a love betrayed. References to ancient Rome are given, perhaps as a nod to Pablius Virgil, the Roman poet who’s fourth Eclogue contains the phrase “Novus Ordo Seclorum”. Although keyboards are featured prominently, this particular song is less electronica influenced then the others appearing on the album. William presents the lyrics in a crooning fashion that truly conveys the heartbreak felt by the song’s subject.

“Love Is Worth Dying For” explores the relationship between pain and love, a continuing theme in William’s work (such as “Strangers” from Hate Culture). While the subject matter is dark, and may not be every listener’s cup of tea, the points William makes are valid (whether or not Francis means them metaphorically or not is open to interpretation), and like all good art, it challenges the audience.

“1963” (note this track is only available on the physical CD of “Novus Ordo Seclorum “) is a New Order cover that is right at home on this release as it contrasts a love gone horribly wrong juxtaposed with ultra-listenable (some may even say happy sounding)hooks. William always provides excellent versions of others material (for example his gorgeous rendition of “Can’t Help Falling in Love” from Noir), and this is no exception.

“Perfect Servant” deals with the darker side of pleasure, not unlike “Love is Worth Dying For”, but on this piece the style is reminiscent of 80’s era synthpop (a style that may be unfamiliar to some of today’s listeners). While bondage may not be understood by all, the love and pain antecedents are brought to the fore here, which links it thematically with many past pieces from the William Control catalog (such as My Lady Dominate from the noir album). As one who immensely enjoys 80’s electronica, I found this track a welcome and refreshing take on a classic style.

Finally comes “The Optimist Within Me”. This track seems to represent William’s farewell to the ways of old. His hatred of the decayed society manifests itself in his witnessing its demise, uncaring and unremorseful. And while unsure of what the new ways will bring, anything has to be better than what came before. William makes a bold choice to end the album with a dark and melancholy track, as most would have left the listener with an upbeat representation of what is to come. It is with this unexpected, unflinching honesty that William makes his mark. There is always hope, always joy and love, but are we willing to explore the road less travelled to arrive at a better place?

William Control’s “Novus Ordo Seclorum’ can be purchased here: http://williamcontrol.bigcartel.com/, and it is highly recommended that you do!

"Don't you ever say backwoods again! We're city-fied, look around."

Mother's Day (1980)

Ah...Troma. How wonderful my childhood was because of you.

The excessive gore and wanton nudity were a young boys dream. I ate them up. The local video store was usually out of anything from Toxie 2 to Class of Nuke 'Em High because of me.

But the eyes and brain of a child are innocent. They know no better. Now that I'm... yikes... 35, Troma doesn't offer anything for me. Nothing personal. They do cool stuff with no money, and the stuff I do at Wicked Six Productions isn't really much better...a few levels below actually, but the excitement of sitting down to a Troma film is no longer in my heart. That saddens me.

With that sadness in mind, move on with me to a review of Troma's Mother's Day.

I put this on the old Netflix Instant Queue on a lark. I saw they had it and what the heck, it's cheap enough. I added it and a box came up saying 'very long wait'. Well, now after about 15 minutes of loading and 'checking playback' it started. Thank you stolen one - bar of stupid neighbors wi-fi.

It started.

I was slightly excited.

Some might say that it's just another typical backwoods family kidnapping hikers. Which it is. But you need to remember...in 1980, these stories weren't as common place or cliched as they are now.

It starts with a nice old lady offering a ride to two rude teenagers. The car stalls and the teens start acting all weird. You start to think that they're going to kill the old lady, but nope. Two crazy guys, one complete with a beekeepers mask, come out of the woods and kill the teens. This is actually a good beheading effect... not the cantalope on a broomstick that Troma's known for now. The poor old lady...she's next, right? Wrong. The guys go up to the old lady and she says something along the lines of, "Mommy's so proud of you boys."

Credits roll and the story proper starts.

We're introduced, via voice overs during a slide show, to three college girls remembering their great times. Suddenly flash forward 10 years and the girls are all grown up. One, a rich snob. Another a big 80's glasses wearing librarian or something who happens to be looking after a sick mother... oy. The third, some sort of prostitute or something with a ridiculous deadbeat, freeloading boyfriend and an even more ridiculous 80's style gentleman's perm.

The rich woman and the nerd get a telegram. What it says, no one knows since they never show us. The permed hooker comes home, her boyfriend steals a $50 bill, snorts coke with it and the girl leaves complete with a pre-packed backpack. Movie magic. She drives into New Jersey and meets her friends that happen to be standing by the road in the country. They get in and they're on their way. Through more expositional voiceovers, we're told how they've done this every year for the last ten with each girl in charge of a different year.

There's a scene in a store and the girls end up making a mess. The owner curses them to "getting theirs when there in the woods". For about the next hour, there's only dialogue, college flashbacks, and random hiking and false scares. Suddenly, the guys come out and kidnap the girls.

They drag them to their house. The mother mentions something about a ghost lurking outside and the action takes place inside.

Now, this is where my childhood memory was dead wrong. I remember torture and gore to a ridiculous degree. But, my brain must have been remembering something else. There's none of that. Absolutely none.

What there is is: a rape during a weird role playing thing which the mother is directing, shots of the brothers shaving, eating breakfast, and training to be killers. All while their mother watches and comments. During the killers shenanigans (I said it) the girls make an easy escape. The permed girl, who was the one raped, randomly dies. The rich girl goes looking for help and runs into one of the brothers pretending to be the sheriff. She escapes him and makes it back to her friends. They decide to avenge their friend and suddenly they're experts in hiking, guerilla fighting tactics, and wilderness survival. They kill the beekeeper, the other brother and the mother. I'm being short on purpose. Even if I were to detail it all, I would be this quick.

The girls escape and the ghostly, somehow mutated sister of the mother jumps out and the movie ends.

It's that bad. Check it out if you want, but that's how I feel about it.

I met Lloyd Kaufman a few years ago at the San Diego ComiCon. He's a nice guy and I'd be in a Troma movie in a heartbeat, but I can't lie about this movie.

- MARK -

"Mary got a doll, and Peter got a big old knife!"

I'm awake at an ungodly hour and bored, so I decided to write. A review, since I've been told those are something I can actually write.

I read Rue Morgue a lot, seeing as it takes everything Fangoria has beentrying to be and actually does it, and they mention a film called Session 9 quite a bit. I remember the film from my days as an Assistant Manager (in title only) at a big chain video rental store. The cover looked cool, but the words 'featuring NYPD Blues' David Caruso' kind of turned me off. Before I continue, why did he leave that show?

I digress. Finally I put it on the old Netflix queue (pronounced cue or Q for my American laymen out there) and it came in. Wow. I was very impressed. Even impressed with Mr. Caruso. It must have been a new pressing because the sleeve now says 'featuring CSI: Miami's David Caruso'. Progress. Following is my review of the film, enjoy.

Session 9 (2001)

Directed by: Brad Anderson

Written by: Brad Anderson and Stephen Gevedon

IMDb summary: An asbestos abatement crew wins the bid for an abandoned insane asylum. What should be a straightforward, if rather rushed job, is complicated by the personal histories of the crew. Things get more complicated as would-be lawyer Mike plays the tapes from a former patient with multiple personalities, including the mysterious Simon who does not appear until Session 9.

My Summary: I would have added 'then spookiness abounds' at the end of that imdb summary if I wrote it, but alas... Anywho, in a nutshell that's what it is. What you find out, as the movie progresses, is that the spirit of the Simon personality, is haunting the institution. And it's not just any institution, it's the Danvers State Mental Hospital in Massachusetts. It's an actual place and it's actually haunted. Wikipedia it sometime. The Ghosthunters went there once. And, the Session 9 filmnaker actually filmed inside, which is a rarity these days. Now, how that personality is haunting the place and not the actual spirit of that patient is never really explained, but that's just so you, as audience member, can come up with your own reasons. My belief, after hearing Simon talk through the tapes, is that instead of being another personality, he's actually a demon of sorts that possesses the "weak and the wounded".

Audio: 10 / 10. Not only is the dialogue clear, the sound effects and setting ambiance is amazing. Throughout the near two hour run time, you feel as if you're there with them. The music, just score, works great, too.

Visuals: 10 / 10. You can get no better than the inside of an abandoned building, whether it be a hospital or not. No production designer can mimic the eeriness of years and years of vandalism and neglect coupled with the rich history of any building. Trust me, I once acted inside Charlestown in Utica and have snuck into my fair share of abandoned buildings with friends. Ah, the life of a drunken teenager. The hospital was as much a character as the people inside it, if not moreso.

Writing: 8 / 10. I only give this an eight because of how long it takes to explain things. Now, as a "writer" and fan of older movies, I'd give this a ten, but seeing as I'm reviewing for you, the common man... the Hoi Polloi, if you will, and most of the audiences today need instant gratification, I took points away. I'm sure the typical American audience would get bored with the character development and the set up of the eeriness of the place. The use of the "session" tapes and the reflection of where the personalities come from, especially that of Simon, and how it reflects what's happening to the asbestos crew is amazing. Co-writer Stephen Gevedon also plays Mike, the one obsessed with playing the session tapes, so you know it has it's reason and it proves great in all it's expositional glory.

Acting: 8 / 10. One missing point come from the typical overdone Caruso style and his constantly titled head and looking down at the floor instead of at the other actors method. Other than those things, he actually does okay. There's no Horatio Caine stealing every scene he's in, like CSI: Miami. And there's a part where he says F*ck you like a champ. The other missing point is the fact that Brendon Sexton III in all his greasy white trash glory shows up in the film. He is best known as playing "Warren" in Empire Records and the "I'm gonna rape you" kid in Welcome to the Dollhouse. He has a mullet in this film and the other actors make fun of it, but I'm sure it's really how he had his hair at the audition. And he speaks in white boy Ebonics, as he always does. So, if you can ignore him at all, I suggest you do so. The rest of the cast is great. We have Josh Lucas looking very truck stop chic, and we know he has the acting shops to hold up... he did a film with Greasy Reesey Wtiherspoon, for land sakes... and if anyone can handle that, he can handle anything. Stepehen Gevedon is great as the obsessive would be lawyer and Peter Mullan plays the "lead" of Gordon perfectly with his oddly out of place and yet very fitting Scottish brogue. Even Paul Guilfoyle, another CSI alum, shows up. An interesting bit of trivia... he's the only one with the Boston Accent in the movie, but since he was born there, I guess he's the only one that could do it right. An actress by the name of Jurian Hughes does the voice of Mary Hobbes, the patient with all the personalities, and she also does the voices of those personalities, including Simon. We only see her in photographs, but we hear her throughout the film via the "session" tapes. Eerie and creepy as all get out.

Directing: 10 / 10. Only a master could wrangle all of those performances and coupled them with a truly scary setting. I must say that Brad Anderson is truly a master of that magnitude. Before this he was best known as a television director with such shows as Homicide: Life on the Streets and The Wire accredited to him. After this film he's done a few episodes of Fringe. He's even done an episode of the late great show The Shield and an episode of Masters of Horror. As for film, the most popular of his other films is Transsiberian starring Ben Kinglsey. According to imdb, he has some projects "in development". Let's hope there along the lines of Session 9.

Rent this movie. You'll not be disappointed,

- MARK -