Greetings, all. Ambush Bug here with another AICN HORROR: ZOMBIES & SHARKS column. Look out for chupacabra, zombies, demons of all sorts, killer robots, and serial killers ahead. You’ve been warned!
(Click title to go directly to the feature)
Retro-review: TWILIGHT ZONE Collector’s Box Set: Season 4, Episodes 5-8 (1963)
Retro-review: THE WHIP & THE BODY (1963)
Retro-review: SATURN 3 (1980)
Retro-review: KNIGHTRIDERS (1981)
Retro-review: NIGHT OF THE COMET (1984)
Short Cuts: NIGHT OF THE KRAMPUS (2013)
DEMON (2013)
ARMY OF THE DAMNED (2013)
TRAIL OF BLOOD (2013)
ALL THE BOYS LOVE MANDY LANE (2006)
BELA KISS: PROLOGUE (2013)
Advance Review: THE DEMON’S ROOK (2013)
And finally…Jen Moss’ MY BROTHER’S KEEPER (OR HOW NOT TO SURVIVE THE APOCALYPSE)!

TWILIGHT ZONE SEASON FOUR (1963)
Episodes 5-8Retro-reviewed by Ambush Bug
So I kind of never finished my review of Seasons 4 & 5 of THE TWILIGHT ZONE, but it just so happens that Image Entertainment is releasing the entire TWILIGHT ZONE series in a sweet box set and because I’m obsessive compulsive like that, I’ll be continuing my coverage of all of the episodes, continuing my series of reviews I started a few weeks ago. So let’s take a trip back into THE TWILIGHT ZONE!
SEASON 4 of THE TWILIGHT ZONE is a bit of an anomaly of a season. Not only does the series mysteriously drop the THE in the title, but it also extended itself to hour long format. This makes for some extended viewing that sometimes took its toll on my patience. While some of the TWILIGHT ZONE stories would be great with a little wiggle room to go into more detail and get to know these characters more, other hour-longs feel extremely drawn out with either redundancies occurring throughout or scenes put in simply to extend the running time. Personally, I love the quick in/quick out feel of the half hour episodes. Here are four more episodes from disk two of Season Four from the box set.

Directed by Stuart Rosenberg
Written by Richard Matheson
Starring Ann Jillian, Frank Overton, Barbara Baxley, Irene Dailey, Oscar Beregi
In concept, Richard Matheson’s “Mute” is one of those stories which one might think would be inspiration for some of Stephen King’s work such as CARRIE or FIRESTARTER, and even David Cronenberg’s SCANNERS or THE DEAD ZONE (another King psychic film) with his exploration into the world of experimental telepathy. No reason for how the group of scientists mastered the art of speaking with their minds is given; rather, an experiment raising a child solely through telepathy is explored. It’s a cool concept, but one that feels somewhat over-saccharinated with a love conquers all theme. Still, there are some fun performances here by Frank Overton and Barbara Baxley as a couple suffering from a loss of a child and finding salvation in the form of an apparently mute orphan girl. The girl is played by a young Ann Jillian, and she acts the hell out of this episode. It’s a strong concept and one worthy of exploration, but an episode that feels somewhat off-kilter by today’s standards due to the fact that Baxley feels a bit too overwrought by grief and desperate to replace her dead daughter with a new one. Rewarding her with the child in the end just doesn’t feel like the right decision, but it does wrap everything up in a pretty little bow.

Directed by Don Medford
Written by Richard Matheson
Starring Jack Klugman, Ross Martin, Frederick Beir
This episode suffers from the repetitive trait I described in the opening paragraph. While it remains a compelling concept, the fact that too much time is spent having the astronauts play the same scene numerous times makes for some tedious watching. This story about a space ship with three astronauts including THE ODD COUPLE’s Jack Klugman landing on a distant planet only to see their own ship crashed yards away is a creepy one mainly because of the performances by Klugman, Ross Martin, & Frederick Beir. The fact that this tale takes place all the way in the futuristic time of 1997 makes this dour episode all the more dour, as it is indicative of the high hopes we had for space travel at the time, and the fact that we haven’t been able to live up to those hopes is a shame. Still, the quirky molded full-body seats are super fun.

Directed by Buzz Kulik
Written by Earl Hamner, Jr.
Starring James Best, Anne Francis, Laura Devon, Jeanette Nolan
This episode is one of the more compelling hourlongs of the series, mainly because of the stunning beauty of Anne Francis in the lead role of Jess-Belle in this story of a young country girl who will do anything to win the heart of a boy and what happens when a local witch takes her up on that offer. The inclusion of a real leopard in the scenes make this episode all the more cool, and strong performances all around make this episode feel more like a true fairy tale or tall tale rather than one found in the TWILIGHT ZONE. You also have some line dancing, theme music telling the story in between the commercial breaks, and the ravishing beauty of Anne Francis. Hommina squared!

Directed by Walter E. Grauman
Written by Charles Beaumont
Starring Robert Duvall, Barbara Barrie, Pert Kelton, Lennie Weinrib
Starring a very young but already balding Robert Duvall, who plays Charley Parkes, an introverted man who has difficulty fitting in with the world and his search to find a place he does fit into. When the place he usually has lunch is closed for the day, his usual schedule is thrown off and he ventures into a museum exhibit where a miniature house is displayed. Inside the tiny fabrication is what looks to be a miniature live woman playing a piano. Charley is immediately taken with the little lass and soon becomes obsessed with watching her little life play out for display. This is one of Duvall’s first roles, and while the actor has been known for his tough and gruff characters, he shows a gentle naiveté here that is astonishing. While most of the TZs of this season felt overlong, I was wishing this one would go on longer just to see Duvall shine as this quiet little man lost in a sea of people who force him to go in every direction other than his own. This is definitely my favorite episode of the week, as it offers up a side of an actor rarely seen as well as a story that plucks all the right heartstrings. A simply fantastic episode.
Season 4: Episodes 4.1-4.5
Season 5: Episodes 5.1-5.7, Episodes 5.8-5.14, Episodes 5.15-5.21, Episodes 5.22-5.28, & Episodes 5.29-5.36

THE WHIP AND THE BODY (1963)
LA FRUSTA E IL CORPO, THE WAY OF THE BODY, THE WHIP & THE FLESH, THE BODY & THE WHIP, SON OF SATAN, NIGHT IS THE PHANTOMDirected by Mario Bava
Written by Ernesto Gastaldi, Ugo Guerra, Luciano Martino
Starring Daliah Lavi, Christopher Lee, Tony Kendall, Ida Galli, Harriet Medin, Gustavo De Nardo, Luciano Pigozzi, Jacques Herlin
Retro-reviewed by Ambush Bug
Though Hammer was just getting started relatively around the same time (CURSE OF FRANKENSTEIN being released in 1957 and DRACULA in 1958) THE WHIP AND THE BODY feels like it fits right in with the Hammer horror films showing that, though the template was being carved by Hammer at the time, the cinematic tropes we often associate with the films were being developed in Italy as well by a true master of horror, Mario Bava.

The story is an interesting metaphor about hidden desires and secrets of the past. Everyone has a few skeletons in their closet, and this film plays with the fear of them returning very well. I have to admit, the ooky feeling I got while watching it had a lot to do with how Christian was being so chickenshit about his wife’s obvious love for his brother and how she secretly enjoyed being tortured by him. I don’t judge anyone for their sexual eccentricities, but the fact that Christian is played as such a mush was rather annoying.

Extras for this one include a commentary by Tim Lucas (author of MARIO BAVA: ALL THE COLORS OF THE DARK), Italian & French translations, and trailers for many of Bava’s films. Bava’s THE WHIP AND THE BODY is just naughty enough to make you squirm, but never really goes into the edge of some type of early rendition of torture porn as other filmmakers like Jess Franco often liked to do. There are some genuinely scary scenes involving bumps in the night, ghostly hands from the darkness, and Lee chewing up the scenery sans fangs. If you’re looking for Hammer horror with a bit more oompf, THE WHIP AND THE BODY might just be what you’re looking for.

SATURN 3 (1980)
Directed by Stanley Donen, John BarryWritten by Martin Amis (screenplay), John Barry (story)
Starring Farrah Fawcett, Kirk Douglas, Harvey Keitel
Retro-reviewed by Ambush Bug
A weird mix of 2001, ALIEN, and STAR WARS, SATURN 3 will forever be a standout in sci fi to me because it was on the cover of STARLOG magazine. Though seeing the thing move in the film was rather under-whelming, the image of Hector, the silver-plated robot with the weird articulated arm for a head, was the stuff of both cool dreams and pants-shitting nightmares for me as a kid. While I didn’t see it in theaters when it was released in 1980 (I was 8 years old and already a STAR WARS fanatic, but my parents couldn’t justify me seeing an R rated sci fi flick despite the fact that I had seen THE EXORCIST with my parents in the same year), I do remember seeing an edited version of the film on TV and thinking it was pretty cool.

The story follows a mysterious astronaut dressed in all black as he makes off with a canister from a space station after killing the original owner by launching him into space through a screen which slices him into chunks. The stranger in black lands on the serene moon of Saturn where Adam (Kirk Douglas) and Alex (Farrah Fawcett) reside in a hydroponics lab which is trying to do research to see if the moon would sustain life to accommodate the earth’s overpopulation problem. The mysterious astronaut unmasks himself to reveal a Captain Benson (Harvey Keitel), and his stolen cargo is actually a canister of synthetic human brains to be used as the central nervous system for a complex robot for the station. Dubbing the robot Hector, the bot is able to aid the scientists with their research, kill the dog, and pluck a splinter out of Alex’s eye. Soon the robot goes a bit nuts, as does Benson as everyone seems to want Alex to themselves (and who would blame them?).

Despite this being a vehicle for a starlet on the rise, it was also a very problematic set to be on as the original director John Barry was ousted out of his chair when he couldn’t get along with Kirk Douglas, clearing the way for producer Stanley Donen to direct. Donen had problems as well with Keitel, as he went round and round with the actor’s tendency to slip in a Brooklyn accent. Donen had so many issues that Keitel’s accent was dubbed over in post by British actor Roy Dotrice (this is talked about in an interview with Dotrice in the extras, one of two interviews in the extras—the other being one with special effects artist Colin Chilvers). While watching this film, I did feel there was something off with Keitel’s voice, and having done a bit of research afterwards it all makes sense.

There’s not a lot of extras with this one--just some commentary by the SATURN 3 fan page guru and film critic David Bradle--but there are some cool deleted scenes only seen in the TV version of the film. Still, SATURN 3’s assets are that Fawcett has never looked better as she does here, one creepy ass robot, and the weird fun of watching Harvey Keitel speaking with a British accent. Though the sci-fi isn’t revolutionary, SATURN 3 falls more into the cheesy sci fi horror genre rather than more seriously scary sci fi jaunts like ALIEN.

KNIGHTRIDERS (1981)
Directed by George A. RomeroWritten by George A. Romero
Starring Ed Harris, Gary Lahti, Tom Savini, Amy Ingersoll, Patricia Tallman, Christine Forrest, Warner Shook, Brother Blue, Cynthia Adler, John Amplas, Don Berry, Amanda Davies, Martin Ferrero, Ken Foree
Retro-reviewed by Ambush Bug
George A. Romero’s answer to EASY RIDER comes to play at the Renaissance Fair in his modern take on Arthurian legend, KNIGHTRIDERS. I know I will take some flack for admitting this, but I always felt that the unrated cut of DAWN OF THE DEAD (which clocks in at a little over 2 hours) always felt a bit too overlong, and while the boredom stints at the mall were necessary in communicating how comfortable the survivors were beginning to feel in their new environment, a nip here and a snip there would have made it all the more entertaining for me. I mention this because I really feel the 2 hour twenty minute runtime of KNIGHTRIDERS could benefit from a trip to the barber itself.

Let’s just say Billy’s got a lot of issues.
The problem is that I think that, despite the length of the film, KNIGHTRIDERS lacks focus, and one of those conflicts would have made for a pretty fascinating film. Instead, Romero chooses to toss it all at Billy and by the end of the film, you really feel for the guy, not only because he is a heavy-hearted fellow, but also because he’s batting away one conflict after another in his country and western song of a life. When Billy breaks down and cries towards the end of the film, you feel the burden he carries as the leader and it’s a testament to Harris as an actor that despite a somewhat convoluted and unfocused script we still feel for him.

The rest of the cast is filled out with some fantastic Romero go-tos. DAWN OF THE DEAD’s Ken Foree plays Little John (yes, I know Romero is kind of mixing stories here since Little John is a Robin Hood character). Patricia Tallman (who shows up later as the lead in Savini’s remake of NIGHT OF THE LIVING DEAD) plays a naïve groupie of Alan’s who is heartbroken when his true feelings about Linet come out. Shrewd eyes will also pick out Werner Shook, who also later appears in CREEPSHOW, DAY OF THE DEAD’s Anthony Dileo Jr. as a corn salesman and Joseph Pilato (DOTD’s Rhodes) playing a disgruntled jewelry merchant. Stephen King also shows up in a cameo as a wiseacre member of the audience.

In the end, KNIGHTRIDERS is enjoyable because of the fun idea of mixing swords and cyclery, but the meandering attention span and direction really makes you thankful the abrupt ending occurs when it does. Harris, who wasn’t quite a star yet when this film came around, shows the ability to carry a film despite its faults. This one’s got new interviews with Harris, Savini, and Romero looking back on the film, all of which feel both nostalgic and somewhat apologetic for the film.

NIGHT OF THE COMET (1984)
aka TEENAGE MUTANT HORROR COMET ZOMBIESDirected by Thom Eberhardt
Written by Thom Eberhardt
Starring Robert Beltran, Catherine Mary Stewart, Kelli Maroney, Sharon Farrell, Mary Wornov, Geoffrey Lewis
Retro-reviewed by Ambush Bug
NIGHT OF THE COMET was one of those films I saw probably 500 times as a kid. I caught it every time it was on cable as a kid for multiple reasons. One, it’s a pretty harmless but fun take on zombies and the post-apocalypse, and two, I was in absolute love with actress Kelli Maroney who plays Sam, the last cheerleader of the apocalypse.

SHOPPING SPREE!!!

The tone of the film is light as a feather, relying heavily on a style that seems to be the mantra of most WB shows like SMALLVILLE, VAMPIRE DIARIES, and whatever crap they put out these days, which is everyone is talking pure snark. Cultural references run rampant and melodrama is the sandwich du jour. The fact is that the girls are most distressed that they may not ever have a real date with a real life boy again instead of, you know, grieving the death of everyone they know and running from zombies out to eat them. But I guess an LA girl’s got to have their priorities, and the script will definitely make you titter a time or two.

It’s not all fluff here, though, as the zombies are rather nicely played here as sunken-eyed berserkers out to grope and fondle out heroines. One scene in particular has a bunch of rejects from REPO MAN led by a dweeb wearing an ascot and a robe with the name Willy on it interrupt a particularly boppy shopping spree which is filled with memorable dialog. Mary Woronov plays a scientist who wants to leave anyone outside of their secret science facility to rot, which adds a bit of heft and another form of menace for our hairsprayed vixens to deal with as well.

Extras include interviews and commentary by Maroney, Stewart, and Woronov, plus one by make up effects guy David B. Miller. If you’re too young to remember the 80’s and want to see what it was like, check out NIGHT OF THE COMET for some retro cheesy fun. Though it is a light snack of a film, there are some moments that you can’t help but laugh at, some pretty creepy zombies and, of course…Kelli Maroney…sigh…


NIGHT OF THE KRAMPUS (2013)
Directed by Thomas SmithWritten by Thomas Smith
Starring Khristian Fulmer, Erin Lilley, Soren Odom, Brendon Cooke, Nathan O'Neil Smith, Chloe Dykes, Lucas Curley, Talaine Lyle
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
For those of you who don’t know, the Krampus is the Bizarro Santa. While Santa rewards the good little kiddies with gifts, the Krampus steals those who were naughty. It’s a wonder the Krampus hasn’t been commercially sucked dry in this cynical day and age, but I guess it’s never too late for that to happen and I might end up kicking myself for saying that if a slew of Krampus-themed films show up in our stockings next year.

What this short gets right is the Krampus stuff. The costume (all practical effects) looks fantastic, and definitely did its job in causing a chill down my spine. The scene where the Krampus abducts the naughty from their homes is something that will awaken childhood fears in some. Director Thomas Smith does a great job of allowing us to see through the eyes of the wide-eyed kids as they approach the Krampus thinking that he’s there to deliver presents only ending up in the bottom of his bag. Smith gives the film a dire tone, as if none of these kids are safe, which definitely makes the stakes higher.

All in all, Smithy once again delivers an old timey-style tale with genuine scares with NIGHT OF THE KRAMPUS and while this one was a short, I’m looking forward to the next time we see Rue Morgan and Co. in action against the great unknowns of the world.

DEMON (2013)
Directed by Rob WalkerWritten by Bernie Felix Jr.
Starring Jasmine Waltz, Michael Placenia, Bill Houskeeper, Joel D. Wynkoop
Reviewed by Ambush Bug

What transpires is your typical monster on the loose tale, only seen through a very roughly realized lens. Everything from slipshod editing to horrific sound quality really makes watching DEMON a difficult task to undertake. While I’m willing to forgive some rough edges in horror films, the fact that 90% of the film’s lines are being drowned out by bird, airplane, and traffic sounds makes trying to understand what’s going on very difficult. Toss in some very rough editing where some scenes linger on too long while others seem to be sliced too short makes it all the more tough to sift through.

This is definitely a backyard produced production and it shows in every way. While the lead actress Jasmine Waltz does a competent job at being a tough as nails fed, her co-stars range from amateur to awful. Top it all off with some music that an 80’s hair metal cover band wouldn’t touch and you’ve got one stinkin’ and steamin’ DEMON on your hands.

ARMY OF THE DAMNED (2013)
aka THE CELLAR DOORDirected by Tom DeNucci
Written by Tom DeNucci
Starring Sully Erna, Tony Todd, Michael Berryman, Jackie Moore, Jasmin St. Claire, David Chokachi, Joey Fatone, Madeline Merritt, Maria Kanellis, Nick Principe, Sean Leser, Billy 'V' Vigeant, Julie Ann Dawson, David Gere, Tom Paolino
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
ARMY OF THE DAMNED is one of those low budget horror films that really work due to a boppy script and some smart decisions by the filmmakers. People shouldn’t go into this one expecting world-changing horrors, but when it comes to a fun little possessed monster people in a house flick, this is a good one.

What impressed me the most about ARMY OF THE DAMNED is the simplicity of the whole thing. A pair of police officers investigates a domestic call to find a dark house with a family sitting at a table, all of them dead. Soon, the police officers end up dead and a second unit is called in, only to find the first officers dead and then walking around as possessed husks with black eyes. Those who fell in that skirmish rise and the ranks of the possessed demon dead multiply. By the time the feds make their way to the house, there’s a whole scad of demon people sewing their own parts together and sticking things like sledgehammers and hacksaws into their flesh for weaponry. The only people left to take on the dead are a small town sheriff (Godsmack’s Sully Erna), a reporter and her cameraman (played by Joey Fatone, yes, that Joey Fatone), and a drunk party dude who just happened to be in the back of the cop car when the frantic 911 call was made (played by the actor behind LAID TO REST’s ChromeSkull himself, Nick Principe). This unlikely group of heroes are all there is between the demons in the house and the rest of the world.

I also like it that there’s not a lot of explanation behind the demonic monstrosities going on in the house, though there does seem to be a plan here and the story definitely seems to be headed in a specific direction rather than making it up as they go along. This feels like the first chapter in a much grander, tale and I for one would love to see DeNucci and the cast of ARMY OF THE DAMNED return to widen the scope and show us what a bigger budget and more time to evolve creatively can give us.

JOE DANTE PRESENTS TRAIL OF BLOOD (2011)
aka MIND GAMEDirected by Joseph Guerrieri, Justin Guerrieri
Written by Joseph Guerrieri, Justin Guerrieri
Starring Robert Picardo, Tim Barraco, Trevor Torseth, Kandis Erickson, Mackenzie Mason, Maggie VandenBerghe, Ray Campbell, Dustin Fitzsimons, Shaun Ausmus, Danny Vasquez, Kateland Carr
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
Kids go into the woods. Kids meet a pair of serial killers. A whole lot of blood starts flowing. You’d think that by now, these kids would know not to do that.

I was reminded of TEXAS CHAINSAW MASSACRE: THE BEGINNING with the whole “goin’ off to war” motif, and there’s a sort of 70’s macho vibe to this story as well as seen in those outdoorsy type films like DELIVERANCE and the like dissecting what it is to be a real man in this so-called civilized society. Writers/directors/brothers(?) Joseph Guerrieri & Justin Guerrieri fill this one with a conflict and dialog that is much more complex than your typical kids in the woods horror film and have the guts to really go the whole nine yards by the end of this one and make it a bloody inescapable mess for all involved.

TRAIL OF BLOOD isn’t going to be blazing new trails in the world of horror, but it does do a lot of what’s gone before right. The conflict between the hardened marine and the newbie is a fun and new dynamic to explore and the bloodbath that ensues in their wake is intriguing to see. While I groaned a bit when I realized what this film was at first, the story and performances of TRAIL OF BLOOD won me over.

ALL THE BOYS LOVE MANDY LANE (2006)
Directed by Jonathan LevineWritten by Jacob Forman
Starring Amber Heard, Anson Mount, Whitney Able, Michael Welch, Edwin Hodge, Aaron Himelstein, Luke Grimes, Melissa Price, Adam Powell,
Find out more about this film on Facebook here
Reviewed by Ambush Bug
This film kind of infuriated me. Basically, it’s about a girl who is the apple of everyone’s eye and occasionally leads them on, then gets angry when the guys hit on her, only to do what every hot high school girl does and direct her attentions toward an older guy.

The story begins as director Jonathan Levine’s camera lingers across Mandy’s body as she slo mo walks through the hallways of her school cut against a montage of all students (boys and girls) looking her up and down with either lust, admiration, or jealousy. Levine wants us to fall in love with this girl, and Heard is definitely beautiful, but he forgets to give her much of a character throughout the film. I originally thought this was a conscious move and going to lead to a major revelation that Mandy is a succubus or a witch or something supernatural was going to come into play causing of all of this admiration, but there’s no such payoff. Just like all the boys and some of the girls in ALL THE BOYS LOVE MANDY LANE, we are supposed to love Mandy simply because she is has perfect hair and a thin waist. Because of this the film feels shallow, or maybe that’s the statement Levine is going for in that teenager culture, for the most part, is shallow. But for some reason, I don’t want to give this film that much credit.

In the end, ALL THE BOYS LOVE MANDY LANE is your typical teen slasher film, only filmed with a slightly more talented and more stylized hand than most of the films in this subgenre of horror. It doesn’t make it necessarily bad, just kind of morally twisted and vapid, especially how it all turns out. Had the film given Mandy a bit of depth to deserve all of this lusting, I’d have been along for the ride. I guess there are girls like this out there, who just flit along due to their good looks, but to make a film that emulates that rather than criticize it seems somewhat off base.

BELA KISS: PROLOGUE (2013)
Directed by Lucien FoerstnerWritten by Lucien Foerstner
Starring Kristina Klebe, Fabian Stumm, Julia Horvath, Rudolf Martin, Ben Bela Bohm
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
Part docudrama/part heist-gone-pear-shaped thriller, BELA KISS: PROLOGUE is a somewhat uneven, yet intriguing little bit of horror released by horror website Shock Til You Drop.

The best parts of BELA KISS: PROLOGUE have to do with the stylish past sequences depicting the life of Bela Kiss. Slo mo sequences, CG brushes with a cloaked skeletal death, and all kinds of blood and carnage. NCIS & SWORDFISH’s Rudolf Martin plays Bela as a cold and meticulous killer, and though he doesn’t say much in these stylish flashbacks, he does have a penetratingly demonic sense about him in these scenes. I also think Klebe is good as the conflicted Julia, who is trying to decide between two men and find out keys to her own past. She has a likable ruggedness about her that reminds me of Dee Wallace circa THE HOWLING and CUJO.

That said, I really did like the way a lot of these sequences looked. Lucien Foerstner excels in setting up some nice scenes of sheer torture and horror and making them look almost beautiful in the slo mo and stylish way they are filmed. With a name like BELA KISS: PROLOGUE, it seems that more films are set to come. I wish the film would have focused on making this story as compelling as the way it looks. I would have been more interested in what came after the prologue had the story been more narratively sound.

THE DEMON’S ROOK (2013)
Directed by James SizemoreWritten by James Sizemore and Akom Tidwell
Starring James Sizemore, Ashleigh Jo Sizemore, Josh Gould, Melanie Richardson, John Chatham, Sadé Smith, Dustin Dorough
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
THE DEMON’S ROOK is a throwback SFX jamboree gorefest made as if it were back in the day and age before anything like CG was even invented. The skill and artistry put into the effects and costumes in this film are absolutely astounding--so good that it makes me look past some of the film’s more rough edges.

Combining elements of fantasy and horror, THE DEMON’S ROOK feels like a world that Sizemore has put a lot of time and effort into developing. The demons have their own language, which sounds pretty real, and though most of the background actors are amateur, the Sizemores do a pretty great job speaking in this demonic dialect. Sizemore has created a whole mythology here that is quite impressive in its scope.

The effects are some of the best I’ve seen in a low budget film in a long time. Completely practical, some of the full body make-up rivals those seen in films like NIGHTBREED, and I’m sure this film sees that one as an inspiration. The demons and their zombie minions are each fantastically rendered, and if you’re a fan of SyFy’s FACE OFF and are frustrated that some of the coolest designs never show up in horror films anymore because lazy filmmakers would rather have them be rendered by a computer, THE DEMON’S ROOK is a fresh breath of latex. On top of the costume designs, there are some amazing kills here as zombies bite and tear through flesh in ways you haven’t experienced since the golden days of Savini and Romero. Sizemore is a gorehound, and his camera soaks up every bloody drop spilled and splattered throughout this film--and there’s a lot to absorb.

Despite all of that, if you’re a fan of real effects made by real people, THE DEMON’S ROOK is something you have to experience. James Sizemore brings big ideas with him, and the effects represent every one of those expectations perfectly. With a beefier script and a few more things for the leads as well as the monsters to do rather than run into one person after the next and then mutilate them, THE DEMON’S ROOK would have been more of a solid film. Still, the creativity injected into this world Sizemore came up with and the creatures mauling everything in their path make this a monster mash to marvel at!
And finally…writer/director Jen Moss brings us some biting comedy about how to survive and how not to survive during the apocalypse. Watch the short below and take notes. Here’s MY BROTHER’S KEEPER (OR HOW NOT TO SURVIVE THE APOCALYPSE)!
See ya next week, folks!




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