Sunday, 21 August 2016


1.    I should have a new review up the earliest next weekend. If not then, then definitely the weekend after.

2.    The focus of the site will always be on classic, cult, obscure and rare horror and exploitation and as well other shocking cinema and new indie stuff. I’ll be covering more mainstream new releases than I did before though as I’m more open to it now as I feel I should be commentating on the current state of genre cinema and I think I was being short sighted neglecting modern horror. I won’t be covering every single new release I’ll just be focusing on what I think is relevant.

3.    I’m moving to a new rating system of a score out of a possible five with half points. No film will ever receive the full five marks, as it’s what I will give it out of five. The highest a film will be rated will be ****1/2 out of ***** and the lowest a film will be rated will be * out of *****.

4.    When I start a new e-mail account for Cinematic Shocks, I’ll be accepting review submissions from PR companies and independent filmmakers again. PLEASE DO NOT SEND ME SCREENERS NOW. WHEN I POST THE NEW E-MAIL ADDRESS THAT IS WHEN YOU SEND ME YOUR FILMS/SHORT FILMS.

5.    When I have new e-mail address, I’m also looking to get into link exchanges. So, if you have a website or a blog and are interested in some cross promotion get in touch then.

6.    I have a new section on the blog called Feature Reviews. It’s self-explanatory, as all my reviews that are at least double the length of my minimum 1000 words, will go in here.  

7.    I’m hoping to get some new banners sorted out for the relaunch.

See you all soon,


Friday, 4 December 2015

The New York Ripper (1982)

NOTE: The following article is a fully revised version of a review originally published on Tuesday, 24th January 2012. This new version now takes the place of that post...  

Giallo mystery thrillers that employ prolonged murder sequences entailing graphic depictions of the victims’ demises and an excessive amount of young female nudity and sexually explicit imagery are one of the main innovators of the slasher film. A prime example of this is Sean S. Cunningham’s successful borrowing from Mario Bava’s excellent 1970 giallo/slasher prototype ‘A Bay of Blood’ ten years after its release with the effective Friday the 13th as it slashed its way through box office receipts igniting the slasher boom of the early ‘80s. The encapsulation of its giallo-esque atmosphere that would transcend through to its first three sequels, SFX maestro Tom Savini’s excellent work creating the blood-drenched set-pieces and supplemented with boobs and nookie cemented this Italian genre as a prime stylistic influence on this American horror sub-genre.

Friday, 13 November 2015

Friday the 13th Part III (1982)

The slasher sub-genre really came into its own in the early ‘80s thanks to the film that spawned this franchise - the much maligned by mainstream critics yet phenomenal box office performer and crowd pleaser Friday the 13th (1980) with director Sean S. Cunningham getting the ball rolling on the gore factor. Shamelessly exploiting the success of John Carpenter’s ‘Halloween’ (1978) by aping the shit out of its template, everyone with even just an ounce of filmmaking knowhow was capitalizing on the slasher boom that Friday the 13th induced. Most were terrible but there were a handful of good ones and even a few great ones. It was an easy format to follow and sometimes due to fluking it or sometimes because of actual talent behind the camera there was a genuine sleazy vision that came through the cinematography and framing, lighting and SFX work. The sub-genre is quintessential comfort zone horror; it is the most basic of horror and it can often be very enjoyable horror. Its simplicity and predictability is its main draw and nearing towards the end of the early ‘80s, many entries started to veer towards campiness and cheesy shenanigans.

Saturday, 31 October 2015

Halloween: The Curse of Michael Myers (1995)

The genre production and distribution studio Dimension bought the rights to the  Halloween franchise with a lot of baggage as they were forced into making a follow-up to the worst entry in the series at this point - 1989’s rushed ‘Halloween 5: The Revenge of Michael Myers’ co-written and directed by Dominique Othenin-Girard. This meant instant doom for the production. It would have been a wise decision to have rebooted here instead, as it would have spared us this trainwreck but with a storyline left dangling for over half a decade the core fanbase were demanding a continuation to tie up the loose ends. Therefore, this monstrosity was what was produced for a sixth instalment (fifth if you do not count the delightful 1982 standalone story ‘Halloween III: Season of the Witch’).

Saturday, 17 October 2015

Re-Animator (1985)

‘Re-Animator’ is Stuart Gordon’s loose contemporary adaptation of H. P. Lovecraft’s 1922 short story ‘Herbert West - Reanimator’, a parody of Mary Shelley’s most famous work the 1818 Gothic novel ‘Frankenstein’. An important genre work the film has deservedly achieved its legendary cult status within the horror community since its release 30 years ago at the time of writing. This is due to its extremely gory and imaginative set-pieces displaying SFX ingenuity with an abundance of offal showing us just how disgusting the human anatomy really is and because it has an exact right balance between this body horror and its black comedy elements. This is a campy and surreal experience that while is not particularly scary is shockingly disturbing in places, immensely grotesque and hilariously absurd. While Gordon’s vision perfectly gets to grips with the source material’s intended ridiculousness by Lovecraft it is hard to imagine these bat shit crazy proceedings working half as well if the filmmaker had not put together such a fantastic ensemble cast. There are also three main cuts and only one is the true version.