Thursday, 20 October 2016


It is so strange Tobe Hooper followed-up the phenomenal critical and commercial success of his 1974 debut feature masterpiece The Texas Chain Saw Massacre with something… well so strange. Eaten Alive is an exercise in atmosphere, imagery and surrealism with…

Tuesday, 11 October 2016

CINEMATIC SHOCKS @ DREAD CENTRAL: Henry: Portrait of a Serial Killer (1986) - 30 Years of Pure Evil

'Henry: Portrait of a Serial Killer' inspired by the real life serial killer Henry Lee Lucas is a character study portrayal of the titular character. This true-life inspiration is based more on Lucas’ confessions and fantasies rather than the actual…

Sunday, 2 October 2016

ClownTown (2016)

‘ClownTown’ is unintentionally juxtaposed to Rob Zombie’s latest genre offering 31, due to the sharing of the killer clowns theme and the close together release dates. It is a low-budget independently produced straight to DVD/VOD release (with a limited theatrical release in some US cities). It is technically competent defying the stigma of its label by having better production values than you might expect as it is well shot, edited and scored.

Saturday, 1 October 2016

CINEMATIC SHOCKS @ DREAD CENTRAL: Don't Go in the House (1980) - Ignore the Warning and Go In

The terribly titled 'Don’t Go in the House' had the working title of 'The Burning Man' and was then retitled to 'The Burning' until the producers found out another horror production happening simultaneously was using the same title. Unfortunately, that…

Monday, 19 September 2016

31 (2016)

When rockstar/filmmaker Rob Zombie - worth a reported $40 million and whose last three films over the last eleven years have been about as good as film on teeth - took to for two crowdfunding campaigns for his latest project, I could not help but feel an overwhelming sense of cynicism. It irked me that moneybags Zombie asked his fans to part with their hard-earned cash to raise funds for his new movie production on the strength of three celluloid abortions after his last good effort way back in 2005 with The Devil’s Rejects.

Friday, 4 December 2015

The New York Ripper (1982)

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.