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Greetings, all. Ambush Bug here with another AICN HORROR: ZOMBIES & SHARKS column. This is one of those rare catch-up weeks where I’m scramblin’ to cover two weeks worth of content in one big @$$ column. Last week, I was hip deep in all things geeky and fun at C2E2, but fear not, I’m back this week at full force and I’ve got a ton of reviews to share. On with the horror reviews!
(Click title to go directly to the feature)
Retro-review: BLIND WOMAN’S CURSE (1970)
Retro-review: CLASS OF 1984 (1982)
Retro-review: GHOULIES (1984)
Retro-review: CARRIE (2002)
THE VATICAN EXORCISMS (2013)
AUTEUR (2014)
JONAH LIVES (2014)
BEDLAM (2015)
DEEP IN THE DARKNESS (2014)
PRIVATE NUMBER (2014)
A GIRL WALKS HOME ALONE AT NIGHT (2014)
Advance Review: 7 IN THE TORTURE CHAMBER (2009)
And finally… Ryan Oliver’s AIR CONDITIONS!
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BLIND WOMAN’S CURSE (KAIDAN NOBORI RYU, 1970)
Directed by Teruo IshiiWritten by Teruo Ishii, Chûsei Sone (as Yoshitada Sone)
Starring Meiko Kaji, Hoki Tokuda, Makoto Satô, Hideo Sunazuka, Shirô Ôtsuji, Tôru Abe, Yoshi Katô, Yôko Takagi, Tatsumi Hijikata, Shirô Yanase, Shinzô Shibata, Ryôhei Uchida, Bumon Kahara, Akira Takahashi, Yûzô Harumi
Retro-reviewed by Ambush Bug
This Japanese classic may not be your typical horror story, but it does have witches, black cats, curses, and bright red blood bursts, so I think it qualifies to be covered here.
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This is a weird film, but I think it stands out for a few reasons--first because of the unconventional narrative and bizarre settings with which the film is made. What makes this film amazing is the epic battle sequences and the otherworldly landscapes director Teruo Ishii is able to convey. Most likely Tarantino saw this film in his formative years, as there is a KILL BILL feel to the whole thing. Seeing Akemi and her group try to cope with these mystical curses with swords and bravery is fun as they seem to be no match for the blind witch and her traveling carnival of oddities.
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BLIND WOMAN’S CURSE is somewhat goofy at times. Seeing the cat flying across the screen on strings was too much for me, first because it was a goofy image and second, because I was hoping the cat was ok. Those liking a little magic along with their sword-swinging mayhem will definitely want to partake in this Japanese treat of old.
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CLASS OF 1984 (1982)
aka GUERRILLA HIGHDirected by Mark L. Lester
Written by Tom Holland (story), Mark L. Lester, John C.W. Saxton, Barry Schneider (screenplay)
Starring Perry King, Merrie Lynn Ross, Timothy Van Patten, Roddy McDowall, Stefan Arngrim, Michael J. Fox, Keith Knight, Lisa Langolis, Neil Clifford, Al Waxman, Erin Noble, David Gardner, Steve Pernie, Robert Reece, Joseph Kelly, Elva Mai Hoover, Vincent Abbatino, Linda Sorensen, Tracy Kinsella, Helena Quinton
Retro-reviewed by Ambush Bug
The blurb at the beginning of this film reads “no high school is as bad as Lincoln High...yet” and while this can sort of be seen as sci fi at the time, director Mark L. Lester really didn’t look too far into the future when he made CLASS OF 1984 in the year 1982. Placing the action two years in the future, Lester took a lot of real life occurrences in schools around the country to make this morally-apocalyptic view on the deterioration of the education system in the US. Biting social commentary or not, CLASS OF 1984 is a brutal film, full of rape, murder, torture, degradation of women, civil unrest, bullying, drug use, and revenge. While it’s pretty vile now by today’s standards, I can imagine the stank that it caused when it was released back in the day.
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Seeing that many of the horrors involved in this film have already come true makes this film all the more scary. While metal detectors and security cameras are something that is sadly the norm in today’s world, I imagine it was pretty shocking to see then. It’s interesting how much Lester got right as stories of kids and teachers bringing firearms to school are more and more frequent stories in the news. And while King’s Norris is portrayed as idealistic, you can’t help but root for him as he does represent everything the school system should be.
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This is a pitch black and gnarly movie. There’s no silver lining and no one comes out of this film unscathed. It’s a pretty harsh yet sadly accurate portrayal of the public educational system of today. If you have a kid in public schools, came from public schools, or god forbid teach in public schools, CLASS OF 1984 is going to hit you on levels you may not be prepared for. I went to public schools and saw the system teetering on the edge of the hellhole this film is played out in as I passed through it. For me, this film was a very uncomfortable experience to sit through and by the end, I was cheering for Norris to get his revenge on those little fuckers. It’s a testament to this film’s power and foresight that it got so much right and is able to build up that much ire while I watched it.
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GHOULIES (1984)
aka BEASTIESDirected by Luca Bercovici
Written by Luca Bercovici, Jefery Levy
Starring Lisa Pelikan, Peter Liapis, Michael Des Barres, Jack Nance, Peter Risch, Tamara De Treaux, Scott Thomson, Ralph Seymour, Mariska Hargitay, Keith Joe Dick, David Dayan, Victoria Catlin, Charene Cathleen, Bobbie Bresee
Retro-reviewed by Ambush Bug
After the success of GREMLINS in 1984, the chic thing to do in horror was to come up with a wee beastie to terrorize folks en masse. While CRITTERS were unleashing the rolling interstellar thunder shortly thereafter in 1986, GHOULIES went full-on occult and Empire seemed to shit out this film to cash in on the mini monster craze without really taking the time to add in things like characters and an original story, or even decent effects. Still, if you’re looking for a horror film that is indicative of the 80s, GHOULIES is it.
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The script isn’t much better, populating this story with characters like Toad Boy, who speaks in a weird voice and then wonders why he doesn’t get laid, and a lothario named Dick (but you can call him Dick) who somehow gets girls to swoon over him. Jonathan and Rebecca are the only characters with weight here. Lisa Pelikan seems to have the acting chops, but isn’t given much to do but react to Jonathan’s transformation from preppy to cultist (which practically occurs overnight here). It’s cool to see ERASERHEAD’s Jack Nance in a role as the gatekeeper of the casa de Ghoulies, but he is onscreen so little that he really doesn’t matter much in the grand scheme of things. In fact, it’s kind of weird that he appears and disappears so much in this film without much of a reference about where he is most of the time while the party is going on.
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Knockoffs are hard to review. Most of the time, it angers me that someone merely lifted a few effective scenes from here and there and tries to pawn it off as an original piece of work. Still, enough time has passed since this one was made that I feel it’s become somewhat of a classic in terms of bad cinema. GHOULIES is a film to laugh at and while I bet those making it felt differently, it’s not a film to be taken seriously. Still, if you’re in the right goofy mood, the puppets are ghoulishly fun and there are some fun scenes with the clown. The evil sorcerer midgets are a bit much, as was the zombie priest’s over the top acting. I also hate the ending, which basically negates everything that happened in the movie and sets things back to status quo. Flawed beyond belief, GHOULIES is bad cinema that you can’t help but have fun with.
This is as good as it gets, sadly, as next up is GHOULIES II, which, if I remember correctly, isn’t much better.
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CARRIE (2002)
Directed by David CarsonWritten by Bryan Fuller (teleplay), Stephen King (novel)
Starring Angela Bettis, Patricia Clarkson, Rena Sofer, Kandyse McClure, Emilie de Ravin, Tobias Mehler, Jesse Cadotte, Meghan Black, Chelan Simmons, Katharine Isabelle, David Keith, Miles Meadows, Sean Tyler Foley, Laurie Murdoch, Michael Kopsa, Jodelle Ferland
Retro-reviewed by Ambush Bug
Out of all of the CARRIE films, the original excluded, this 2002 retelling is much more stomach-able than both the awful sequel (which I reviewed last time and occupies the other half of this Bluray double feature from Shout Factory) and last year’s big time Hollywood regurge starring Chloe Grace Moretz.
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For the most part, the entire story from De Palma’s classic is intact here. There are even shots here that feel lifted directly from the original CARRIE, making a lot of the film feel very redundant. This is was a TV movie, so it gives the film a little more time to delve into some of the more twisted stuff with Carrie’s mom (played by the always amazing Patricia Clarkson) and the bullies at school. Still, any expansions are minimal, and aside from the added police interviews with survivors of the prom massacre, there really isn’t much different from the original except for the end. Not having read the book, I don’t know if this one is more accurate to King’s original or De Palma’s, but I will say that this ending definitely lacked the impact the 1976 version packs to this day. Like the latest remake, the filmmakers found themselves in a pickle since the original ending was such a shocker. Imitate the shock, which never works because you can’t tell the same joke twice and expect the same reaction, or do what the 2002 and 2013 versions did and try to do something vastly different--unfortunately, in both instances the ending fails miserably.
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But what I liked about CARRIE 2002 (and I’m sure by this point you’re wondering if there was anything at all) was the performance by Bettis, who really does a good job as Carrie. Seeing her twitch and shudder like an epileptic leaf in the breeze is really something, and I couldn’t help but guffaw when she cutely asks the librarian how to use the internet. Bettis is really just recycling her role as MAY here, but still, it seems as if she was trying to bring something new to the character and not just ape what Sissy Spacek did in the original. Emilie de Ravin really doesn’t get a huge chance to shine here as she basically just acts like a bitch, but we get to see her and AMERICAN MARY’s Katherine Isabelle prance around in their underthings, so it ain’t all that bad. McClure gets a little meatier role here as Sue, but the script doesn’t really let her shine very much either. Still, Clarkson brings some dignity to the film as Carrie’s mom and is much more subtle than Piper Laurie’s fantastically evil performance in the original.
Nothing will match CARRIE 1976, and I wish they would just stop trying. But if I had to rank my CARRIE films, I’d have to go CARRIE 1976, CARRIE 2002, CARRIE 2013, and finally THE RAGE: CARRIE 2 in terms of descending quality. Though shoddily made, the 2002 version has its moments, which is more than can be said about the sequel on the other end of this double feature.
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THE VATICAN EXORCISMS (2013)
Directed by Joe MarinoWritten by Mauro Paolucci, Salvatore Scarico
Starring Piero Maggiò, Joe Marino, Anella Vastola
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
I’m…I’m kind of not sure what this film is trying to be. I believe it’s trying to be a mock doc. It sets out to be a tell-all, pulling back the curtain behind the Vatican and secret sex orgies and rituals that have been going on behind the scenes for centuries. Then halfway through, the film switches gears and follows exorcists around performing exorcisms on people. Finally, it tries to convince you that the filmmaker went nuts while making the film and disappeared, seemingly possessed by the demons inhabiting the possessed souls they were filming.
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The music was especially odd here, as it ranged from electro-clangs and pings to noises you can get from a drugstore Halloween spooky sounds recording. The fact that it appears out of nowhere and is placed in scenes simply to cause some kind of buildup to a scare that is not there makes it all the more ineffective and distracting.
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I hate to be so down on this film because I think there was a good idea in there somewhere. The beginning info given to us regarding some kind of secret pagan society within the Vatican was some fun stuff, and it built the film up to be something more akin to the excellent conspiracy theory yarn THE CONSPIRACY (reviewed here). But the sharp left turn this film takes once they begin following the exorcists on their daily rounds makes it feel like suddenly the filmmakers found a more interesting subject to follow and forgot about the Vatican cult stuff. And while I can appreciate the fact that these exorcisms shied away from the “woman tied to the bed and spitting broth all around” cliché, sitting and watching the minutes tick away as the exorcist spouts the gospel at a writhing possessed person isn’t an entertaining alternative. The bizarre way the film ends with almost no climax at all makes this a true oddity in terms of narrative, as THE VATICAN DIARIES simply sputters to an end instead of coming to any type of resolution. But since this ADHD-addled film doesn’t seem to have the attention span to focus on one subject for long, this type of non-ending shouldn’t have been a surprise to me.
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AUTEUR (2014)
Directed by George Cameron RomeroWritten by James Cullen Bressack, JD Fairman, Michael Sean Gomez
Starring Tom Sizemore, B.J. Hendricks, Ian Hutton, Madeline Merritt, Eli Jane, Matt Mercer, Ace Marrero, Elina Loukas, Val Mulligan, L. Stephen Phelan, George Cameron Romero
Find out more about this film here
Reviewed by Ambush Bug
This low fi mock doc has some creepy moments and an underlying sense of dread. While some who like their horror big and scary might not be too impressed with AUTEUR, there’s definitely an indie charm to the flick.
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George Romero’s son George Cameron Romero directed this one with a script from a trio of writers including AICN HORROR fave James Cullen Bressack (who wrote and directed HATE CRIME, BLOOD LAKE: ATTACK OF THE KILLER LAMPHREYS, TO JENNIFER, MY PURE JOY, 13/13/13, and the upcoming PERNICIOUS). And the best part of this film is the way the story unfolds and reveals tidbit by tidbit, putting the pieces of this mystery of the missing filmmaker together right there along with Jack. The film does a decent job of laying out all of the pieces and hinting at the answers in foreboding ways. There’s a real sense of danger here that is consistent from start to finish.
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The other problem with AUTEUR is that the film itself that is being investigated really doesn’t look all that scary in the first place. We are only shown bits and pieces of it, but for the most part, it’s just not convincingly creepy or evil enough to match all of the hubbub attached to it by the filmmaker, the crew, the cast, and Jack. Still, the mystery is well laid out, so I have to give the film credit for that and seeing Sizemore act tough again is always fun, even though he seems to be focused on talking about himself a little too much here instead of really participating in this movie. AUTEUR is a flawed film in that it isn’t the scariest and the lead just fails to carry the film, but there is a strong narrative which kept me invested enough to make me want to see how it all turned out.
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JONAH LIVES (2012)
Directed by Luis CarvalhoWritten by Luis Carvalho
Starring Brinke Stevens, Cesar Perreira, Jocelyn Padilla, James Barrett, Ryan Boudreau, Nicole LaSala, Rob Roy, Aaron Peaslee
Find out more about this film here! and on Facebook here!
Reviewed by Ambush Bug
This little indie flick is something straight from a TALES FROM THE CRYPT episode, as a group of kooky kids reanimate a vengeful spirit via a Ouija board. JONAH LIVES is definitely on the lower budgetary side, but it’s got some fun moments that make up for it.
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The scenario is fun—-kids raising the dead with a witchboard-—but the execution is not all stars and unicorns. The plot moves pretty slowly and takes its time before getting to the point where the dead rise. Instead, the filmmaker decides to focus mainly on the kids, how they interact with one another, and what secrets they tell each other. While I’m sure some of these fresh young faces will go places, the script doesn’t really give them a lot to work with here. Stiff deliveries also hinder these opening moments where we get to know this cast. All of that equals a lot of ho-humming in the opening scenes before the spirits start getting evoked.
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With pacing problems that litter the first portion of the film, JONAH LIVES feels like a good short film stretched out beyond its length. It makes up for it in the latter half of the film, but you have to trudge through some tedium to get there.
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BEDLAM (2015)
Directed by Chew BarkerWritten by Chew Barker
Starring Guy Edmonds, John Boxer, Peter McAllum, Cassandra Swaby, Gary Boulter, Greg Hatton, Amanda Marsden, Chase Hope, Steve Maresca, Adam Hatzimanolis, Mark Dessaix
Find out more about this film on Facebook here
Reviewed by Ambush Bug
BEDLAM is less a horror movie than it is a psychologically focused survival tale of a schizophrenic man named George (Guy Edmonds) who checks himself into an asylum after a recommendation by his psychiatrist Dr. Black (Peter McAllum). But once inside, the doctor’s medieval treatments and brutal abuse from the guards make George fear that he will never be able to see freedom ever again.
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Again, this isn’t really a scary film, but the hardships the patients had to endure are horrifying. And while it shares the name and a lot of the themes with the 1946 Boris Karloff film, this BEDLAM doesn’t seem to be a remake. Decent performances and some creative storytelling make up for some rough lines and deliveries here and there. And while it reminded me of a lot of other “held prisoner in a mental institution” films I’ve seen through the years, BEDLAM turned out to be an arduous film to sit through, but I can’t say it wasn’t interesting.
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DEEP IN THE DARKNESS (2014)
Directed by Colin TheysWritten by John Doolan (screenplay), Michael Laimo (novel)
Starring Sean Patrick Thomas, Dean Stockwell, Kristen Bush, Blanche Baker, Dina Cataldi, Anthony Del Negro, Cara Loften, Steven A. Miller, Athena Grant, Ron Komora, Marty Gargle, Kathleen Huber, Bastian, Kyle Durand, David Weindel, and Christina Costello, Azumi Tsutsui, Jacqui Denski, Yanina Hope, Merphy Betancourt, Jerry Dwyer Jr., John Trent, Jon Denski, Eva Marie Wasko, & Joey Johnson as the Isolates!
Reviewed by Ambush Bug
ScyFy’s slightly more sophisticated half-cousin Chiller has had slightly better luck with their made for TV horror flicks. Granted I’ve seen a ton of shitty MEGA-SHARK VS CROCO-SAURUS and the like from ScyFy and only really seen Chiller’s DEAD SOULS (reviewed here), but while that had its own faults, at least it was trying to do something genuinely scary rather than just go for CG/cartoony campiness.
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What works is the interesting and original concept of a race of monsters controlling the city above them and forcing to serve them or else be ripped to shreds. An underground civilization of monsters is not a truly unique concept, but at least it’s not giant monsters running amok, zombies, or aliens. From someone who has seen more than enough clichéd monsters running around in a million and one movies, it’s refreshing to see something slightly more original. And the designs of the monsters are just that as these underground beasts known as Isolates look like a cross between a caveman and a goblin with glowing eyes, long claws and teeth, and skin covered in clay. These are monsters I haven’t seen before and I give this film credit for that.
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With an ending that was rather shocking, monsters that really are kind of cool and unusual, a fun weird vibe in a town full of loonies, and some strong performances, DEEP IN THE DARKNESS really surprised me. It’s not one of those films that stands out, but it is a solid little horror flick nonetheless and I’m hoping Chiller ignores its half-cousin network’s output and produces more films like this one.
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PRIVATE NUMBER (2014)
Directed by LazRael LisonWritten by LazRael Lison
Starring Hal Ozsan, Nicholle Tom, Judd Nelson, Tom Sizemore, Joel Michaely, Ray Stoney, Kyle T. Heffner, Ali Costello, Kamber Hejlik, Gary McDonald, Eric Sweeney, Diana Elizabeth Torres, Scott Logan, Anastasia Roussel, Morgan Peter Brown
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
This schizophrenic flick just doesn’t know what it wants to be and ends up taking itself so seriously that it really doesn’t matter in the end. There are a lot of interesting ideas in PRIVATE NUMBER, but nods and full on lifts from other films end up making this film way too overloaded for its own good.
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Does it want to be SE7EN? Does it want to be FIGHT CLUB? Does it want to be a Stephen King writer story? Does it want to be a supernatural thriller or a hard edged serial killer flick? The answer to all of these questions is “Yes.” which is the main problem here as writer/director LazRael Lison really wants to let us know he’s seen a lot of movies by jamming them all into one single film. The tone just isn’t consistent from one moment to the next here. First it’s a story about a writer struggling to get through writer’s block and things are mapped out in a very Stephen King-like way as what seem to be an idyllic life for Michael and his wife are seemingly upended by the stress of not getting over that writing hurdle. But then the ghostly happenings begin and you’re not sure if it’s Michael going nuts or it’s really going on. Then his wife sees the ghosts and starts to have physical reactions to their presence. So what does Michael do? He starts investigating unsolved murder cases and uncovering a pattern that no one has ever uncovered before between the killings. By the time it all reaches the conclusion, I felt as if I’d witnessed four movies all at once, and was left unsatisfied by all of them.
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While the acting is not bad in PRIVATE NUMBER (though the lead Hal Ozsan is more than a bit too smug to be likable), the loopy narrative is. It’s not a fun experience to see a film that doesn’t know what it wants to be. Dancing around from one genre and another subplot, never taking more than ten minutes with each makes for a very uneven movie. PRIVATE NUMBER could have been a decent serial killer flick or an intriguing struggling writer story or an enthralling ghost story, but in attempting to be all three, it ends up being none of them.
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A GIRL WALKS HOME ALONE AT NIGHT (2014)
Directed by Ana Lily AmirpourWritten by Ana Lily Amirpour
Starring Sheila Vand, Arash Marandi, Marshall Manesh, Mozhan Marnò, Dominic Rains, Rome Shadanloo, Milad Eghbali, Reza Sixo Safai, and Masuka the Cat
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
People talk to much. In movies. In books. In comics. Gab, gab, gab. Jaw, jaw, jaw. Blah, blah, blort. Why say something directly when you can stammer out 150 more words to describe it? That seems to be the motto of most writers (and most people) these days as the cinema, book and comic pages are filled with words and words. It takes a film that revels in the silences and the unsaid to really bring notice to that, but A GIRL WALKS HOME ALONE AT NIGHT did that exact thing for me.
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That’s where the girl (Vand) meets Arash (Arash Marandi), a mid-level drug dealer and all around nice guy. Arash is tormented by his asshole drug boss and cursed with a father who is addicted to the very drugs he pushes. One night, while drunk and high, Arash meets the Girl, and while this would normally be an occasion for the Girl to have another meal, something else happens. Yes, this is a love story between a vampire and a human, but before you roll your eyes and try to lump it into a bundle with TWILIGHT, understand that the handling of this budding relationship between Arash and the Girl is much more realistic and mature than those overwrought with angst and overworded with romantic babble and pablum you see in most Hollywood films.
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Everything about this film feels new and somewhat trendy, which isn’t always a bad thing, reminding me of the slick feel of Refn’s DRIVE. Much can be said about the silences, the vampirism, and how that relates to the culture of Iran in relation to women, and I’m sure it can be said much better than by me. But this film struck me in its ability to capture my attention from start to finish with a mesmerizing and star-making performance by Vand and gorgeous black and white scenes by Amirpour. With a hip and trendy soundtrack filled with Iranian music, this film is bound to strike the fancy of those who like their vampires with a little edge. Gorehounds might be a bit more disappointed here, as aside from some cool looking choppers the Girl sports, there’s very little by way of blood. Still, the image of the Girl wearing her chador like a vampire’s cloak is a pretty effective and terrifying one cast against the dark streets of Bad City. Seeing her flit like a ghost and calmly stalk her prey is chilling without having to see copious amounts of grue. So while fans of the more extreme kind of horror or those looking for a jump scare every five minutes might be put off by the patient and more introspective mannerisms of A GIRL WALKS HOME ALONE AT NIGHT, those looking for some emotional meat in their films who appreciate the beauty as much as the beast will definitely want to seek this one out.
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7 IN THE TORTURE CHAMBER (2009)
aka 30 DAYS TO DIE, CRYSTAL LAKE, GIRS GONE DEADDirected by Griff Furst
Written by John Case, Griff Furst, Marc Sheffler
Starring Shirly Brener, Wendy Carter, Amy Brassette, Laurence Cohen, Brendan Connor, Samantha Cope, Kevin Kazakoff, Kristina Kreyling, Gina La Piana, Marc Sheffler, Kady Zadora, Victor Webster, Lina Esco
Find out more about this film here
Reviewed by Ambush Bug
This oddball of a film is difficult to peg down, which is one of 7 IN THE TORTURE CHAMBER’s most endearing qualities.
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After that things get a little weird, as we are made aware that this film is taking place in Crystal Lake. Yes, the same Crystal Lake where Jason Voorhees likes to do his summer recreations. But while yours and my favorite hockey-masked murderer isn’t mentioned in the film, setting it in his backyard seems a bit weird. It’s as if the filmmaker was trying to make a FRIDAY THE 13TH film without permission to use Jason. Instead there’s another killer making his way around the area slicing up pretty girls, which kind of makes for an interesting tertiary tale to the FRIDAY THE 13th mythos and a fun little sidebar to experience between movies.
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Unlike most women in prison films, the acting is actually pretty good here from mostly the entire cast, and I must admit there are a lot of attractive girls in this film to ogle. But while 7 IN THE TORTURE CHAMBER may sound like a torture porn film, it really isn’t. It’s a slasher/women in prison mashup that wobbles during the women in prison parts in the middle, but sort of redeems itself when it decides to be a slasher with a solid opening and an ending that has a few fun twists and turns. Far from original and even farther from perfect, 7 IN THE TORTURE CHAMBER is better than I was expecting--in parts when it’s not too busy being clichéd, that is.
And finally…a few weeks ago, I reviewed Ryan Oliver’s RESTORATION, a ghost in a car flick that was strong in style and story (you can read that review here). AIR CONDITIONS is Oliver’s first short film, and it focuses on a man trapped on a roof with something dark and evil. Again, this short shows Oliver’s flair for making the simple and banal look gorgeous. This filmmaker’s got a lot of talent, and I can’t wait to see what he has brewing up next. Luckily, AIR CONDITIONS is available in its entirety online and I’m sharing it right here with all of you AICN Horror-philes. So without further ado-wacka-do, here’s AIR CONDITIONS!
"Air Conditions" Full Film from Ryan Oliver on Vimeo.
See ya next week, folks!
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Be sure to tell your comic shop to support his new comic PIROUETTE (trade released in May Diamond order code FEB15 1090 for only $9.99!) from Black Mask Studios!
![](https://media.aintitcool.com/media/uploads/staticserver/assets2011/halo8.jpg)
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Interested in illustrated films, fringe cinema, and other oddities?
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Look for our bi-weekly rambling about random horror films on Poptards and Ain’t It Cool on AICN HORROR’s CANNIBAL HORRORCAST Podcast every other Thursday!