The Rotting Zombie's News Anthology for Thursday 3rd of July 3 Jul 10:14 AM (3 days ago)

There won't be any blog posts on this site next week as I am off to Dunkirk with my father for the weekend, the weekend being the only chance I get to write posts. I figured I might as well pull my finger out and make this week's output a full five posts (I failed, plus I am moving one of the four posts I did write to next week). Onwards to a terrifying trilogy of horror news.

Found footage streaming service FOUND TV is branching out into video game territory, with first release Tag! You're Dead now available to wishlist on Steam. The game takes the form of a side scrolling horror, with it being a small reimagining of the cursed video game from the film /demo_n. You play as Gary, a man battling his way through a demon infested city. Co-founder and CEO of FOUND TV - Louie La Vella stated that this is only the beginning for their video game output 'FOUND has several other gaming projects in the works, including a VR experience in development...' Tag! You're Dead is due for release this summer.

A trailer for upcoming horror comedy The Massage Parlour Massacre has been released. The film sees a detective who has spent their whole life trying to find the person responsible for their mother's death at a massage parlour get caught up in another massacre at the same location some twenty years later. The star studded cast include Felissa Rose (Sleepaway Camp), August Kyss (Murdercise), Sandy Johnson (Halloween), Mark Patton (A Nightmare on Elm Street 2: Freddy's Revenge), and Robert Allen Mukes (House of 1000 Corpses). This is to be written and directed by Nigel Hartwell (The Demented).

Finally for today, the official poster and trailer for indie horror Blood Red Beach has been released. Coming from Mad Angel Films (Graveyard Shark), this follows a group of friends who anger the vengeful ghost of pirate Captain Roderick Cross while on vacation at a remote island. Blood Red Beach is due for release on August 1st on Blu-ray, DVD, VHS, and a limited edition collectors box. Preorders are live here.

Hot Spring Shark Attack (2024) - Comedy Horror Film Review 2 Jul 12:10 PM (4 days ago)

A decade or so back there was an explosion of animal based comedy horror films that had ridiculous premises, off the top of my head I can think of Sharknado and Birdemic to name just two. The idea of outlandish creature features never appealed to me, so I didn't actually watch any to my knowledge. The Morihito Inoue written and directed Hot Spring Shark Attack (original title Onsen shaku) is a modern example from that genre, this Japanese comedy horror is ridiculous from start to finish, kind of what I expected, but more fun than I anticipated.

In the coastal town of Atsumi, the mayor has recently had a project for a giant new hot spring facility completed. This coincides with the disappearance of visitors to the centre, and it is feared that a shark is somehow responsible. A shark expert comes to the city and concludes that an ancient shark long believed extinct has been released from its undersea hibernation due to the building of the hot spring, and is now using the pipes to travel up from the sea and eat visitors. Not long after this theory is proved correct, sink holes appear all over Atsumi and people begin being swallowed up by sharks, for it is not just one, but a whole group of these creatures dubbed 'hot spring sharks'. The town is evacuated, and after a government attack submarine is destroyed it is feared that Atsumi will need to be totally destroyed to contain the threat. The mayor, along with the shark expert, and a mysterious strong silent man named Macchi, decide to do one last ditch effort to stop the sharks and save the town.

I'm about due to leave my house at the time of typing and so I will try and speed run through this review. Hot Spring Shark Attack is everything what I expected, but it benefits by not being dull. The effects are as expected ridiculous, but they serve the comedic nature well. There is a lot of CGI used for the sharks and their attacks, there isn't really much effort made to make these creatures look realistic. Occasionally puppets are used, but mainly it is CGI. This also applies to the sink holes that appear, in random bits of road these pools of water open up for the shark to attack, before sealing back up again with no logic for how that is happening. This also relates to the sharks being able to 'swim' along the paths and roads of the town, their fins somehow popping up through the concrete without doing any lasting damage. Shark attacks are plentiful, but with the conveniently fast evacuation of the town, this is more front loaded when it comes to shark carnage. Being a comedy horror, the second half may have less people being attacked, but the number and types of sharks explodes to farcical levels, and of course being a comedy horror, there may just be a king of the sharks that makes a very impressive and daunting appearance for the action packed finale.

Characters as a whole are larger than life and over the top, and their actions are just as crazy. From the police chief who prevents swimmers heading into the ocean by shooting the words (something along the lines of) 'Stay out the water' into the sand with his pistol, to the muscly and mostly silent Macchi who is somehow able to punch the ground powerfully enough to scare off sharks, and later has lots of anime style underwater fights against literal armies of sharks! The story was nothing too special, about what I expected for this type of movie, but it rarely got boring. I appreciated that within half an hour events had increased to ridiculous levels, and with the characters, I found the weaselly mayor becoming one of the main protagonists to be refreshing, and his character arc where he goes from a moron to a likeable and brave moron enjoyable.

I feel films like this can be an acquired taste. Personally, this one had enough going for it that I was rarely clock watching. It might be some dumb entertainment, but it was fun as the piece of obvious silly escapism it had been set out to be. With adequate special effects, a likeable cast, and plenty of stupid moments, Hot Spring Shark Attack made for a nice, if partially forgettable madcap creature feature. Hot Spring Shark Attack debuts with special previews at various Alamo Drafthouse locations on Wednesday 9th July, and will open theatrically for extended runs and special engagements on Friday 11th July.

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Bring on the Damned! (2024) - Horror Anthology Film Review 30 Jun 7:41 AM (6 days ago)

Bring on the Damned! is a horror anthology made up of five short stories, each one written and directed by Brandon Bassham (Slashening: The Final Beginning, Fear Town, USA). I've seen some of the directors previous works and so was unsurprised to find often tongue was firmly in cheek during these tales of madness. Each of the shorts is based around a different theme which simply becomes the chapter's title.

It starts with 'Diagnosis: Satan', this twenty minute film features a psychiatrist named Sarah who has been hired by the Catholic church to see if a violently ill girl is suffering from mental health issues, or if she is actually possessed by a demon. Sarah of course believes it to be the former, but slowly begins to suspect the later may actually be the case.
The indie budget is obvious to see, but that works well for this as it is a neat blend of horror and humour. It plays out like a mockumentary, with a film crew following Sarah around. The story is a traditional demonic possession one, lots and lots of screaming. The highlight was a scene where a priest skins his own face, some cool looking effects despite the lack of much budget. I found the humour to actually work pretty well. References to the darker side of Catholicism are made, and I particularly liked the line where after Sarah asking the exorcist if she can attend the exorcism as well, he says something along the lines of "It's far too dangerous for anyone but an exorcist to be there...and a camera crew". It gets ridiculous later on, in a funny and unexpected way. This was a good start to the anthology.
Second short was the fifteen minute 'Johnnie Lee & Sam' which was a different type of film entirely. Shot in black and white, this was set at an undetermined point in the past, looked to be around the 1920s. Two serial killers; Johnnie-Lee (Conor McCarthy) and Sam (Patrick Foy - The Slashening) accidentally meet one day while burying their respective victims in woodland. They strike up a friendship, but that friendship is tested later in the year when they both target the same woman. A much lighter short despite the dark subject matter, this had a feel of French cinema to it, featuring narration in French, and a neat bit near the end where instead of footage, still images are used (which were expertly chosen I might add). I thought the two leads were both great in their own ways, and it was fun that the two killers had different motives. Again, humour was used to great effect, my favourite part was a chase sequence where both killers are repeatedly putting their hands on their hats to stop them falling off during the chase.

At the halfway point of the stories with the third film - 'Disco Inferno', which at around half an hour long was the longest of the shorts so far. This was set during the disco scene of the 1970's and followed a numb woman who one evening discovers that the only way she is able to achieve orgasm is to kill. Her crimes make national headlines, but one day she meets the self proclaimed 'Disco King' and may have met her match. Stylishly this was the best of the shorts, though not too much really happens. This is made up mainly of various montages, the best being one that shows four differently tinted scenes playing out in each quarter of the screen. Humour again was used, with the club getting less and less people in it over the course of the short due to the killer taking them all out. I loved the music choices here, really hummable, but this was a bit style over substance with the one trick getting a bit stale towards the end. It was wonderfully edited and shot though, visually this was stunning.
The penultimate short was 'Bad Day in Mars Town', another black and white effort, this time with a film noir feel. This takes place in a Robert Rankin style alternate Earth (some point mid-last century) in which humans had gone to war with the cloud like Martians. Johnny Ferri (Terrifier 2) stars as Brack, a hard boiled PTSD afflicted detective who is hired to investigate a sting operation against a wealthy client who was photographed sleeping with a Martian. This was well made, plenty of film noir elements in abundance such as a femme fatale and narration by the protagonist, and I did think the effects for the Martian creatures were great. My complaint was that by sticking so closely to the genre it was mimicking, it all became a little slow and dull. This was the first of the shorts where I was glad to see it finish.

Finally was 'Tara & The Tiger Babes: VSCU' which amusingly styled itself on old Hanna Barbera cartoons. Unable to catch a serial killing rapist known as the 'bottom butcher' (Zac Amico), the police call in Tara & the Tiger Babes, a special band who catch criminals in their spare time. The highlight of this was Billy Bob Thompson as Greggie; an obvious stand-in for Fred from Scooby-Doo. Again there was a lot of music here, with several songs being sung by the band. This included similar language to that used in the old cartoons, and a 'zany' chase sequence that saw everyone chasing each other around a church. I appreciated the joke with this one, but by this point my attention was fading.

Bring on the Damned! was a surprisingly well made and enjoyable anthology, there is no doubt as to the quality of these five films. At an hour fifty, this felt a bit overlong, some of these could have had large chunks cut out of them and not lose their message. It was a shame as there wasn't a bad short to be found here, even the ones that were less interesting still shone due to the sheer amount of variation on show. The linking theme was sins, with each of the shorts preceded by a chapter title stating the sin, but the theme could also be seen as parodies of various genres, from Saturday morning cartoons to Saturday Night Fever, this had a lot of ideas up its sleeve. The humour was often effective, special effects often fun to see on screen, and some good ideas, I just wish it had been a little more tightly edited together, as you can have too much of a good thing. Bring on the Damned! is now available for streaming on Troma NOW.

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DoN't cOME HeRE (2025) - Horror Film Review 27 Jun 10:18 AM (9 days ago)

The annoying to type DoN't cOMe HeRE was a by the numbers indie horror movie that nonetheless had some interesting ideas to it. Directed by Douglas Thomson and written by Brook Judge, the limited woodland setting almost caused boredom at times, but the mystery of who was responsible for the horror kept me mostly invested.

Jill (Joan Iyiola) and Vivian (Arazou - Ready Player One uncredited) are two American students who have gone to Spain on a summer working holiday. Stopping in a rural town, they encounter a group of rich English friends in a local pub, and with Jill taking a shine to one of them; Peter (Nikolas Salmon), they decide to join them. Together they decide to spend the next day together before going their separate ways, with Jill suggesting they go on a drive together for a hike and picnic. Ignoring the warnings of a local woman (Lina Mira - Pan's Labyrinth) about staying away from the area they are heading to, the group drive on, and initially everything goes according to plan. At the spot they pick for their picnic, Vivian goes off on her own to relieve herself, but doesn't come back. A panicked Jill begins to suspect something has happened to her friend, the group search for her, eventually heading back to their truck where they find the grisly discovery of Vivian's skinned corpse! With their truck sabotaged, the group head off into the woods to try and find a way back to the main road. Whoever killed Vivian isn't done with the scared group however, and one by one, they begin to get picked off by the unseen killer.

While a slasher, this had the feel of a whodunnit due to the variety of characters introduced early on who could be the ones responsible. There was a disgruntled hitchhiker that Jill and Vivian had refused to pick up, an angry local couple (one of whom was the woman warning the group to stay away), and then there is the infighting of the group. With Jill not knowing the others, she begins to suspect that one of them may be responsible. To be honest, that part was a little stupid, not only did it seem strange the friends would have turned on each other, but there would have been evidence of them having committed the crime, rather than still being kitted out in their pristine brightly coloured clothing. Jill was set up as the protagonist, but she was a bit annoying, when late in the movie, Michael (Onur Cocen) states to her that she has been wrong about absolutely everything she has suggested, I couldn't help but agree. That isn't to say the other characters are much better, all rich English young adults, they might have been a bit stuck up, but I liked the obvious camaraderie they had.

The killer forever remains off camera for the most part. This did lead to a little bit of boredom not really seeing kills happen on screen, but it also kept the mystery going of who exactly was responsible. There are a whole bunch of kills, though to my knowledge there are only actually two that are shown, usually characters are either discovered dead, or they are being attacked by someone just out of shot. Thankfully, one of the rare on-screen kills was also the most surprising and fun.
The woodland setting was very samey, with the group walking down various small pathways, at least there was a small change in location for the final act, which saw the survivors holding out in a remote cottage they find. The eventual reveal was almost surprising, I did think some of the potential suspects were set-up as obvious red herrings.

A simple story, and an unexciting location, as well as the lack of many on-screen kills did cause a slight bit of fatigue before the end credits rolled after ninety minutes. I did end up mainly enjoying DoN't cOME HeRE, was a nice bit of escapism after the more serious movies I watched for review this week.

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The Rotting Zombie's Round-up of Horror News for June 2025 26 Jun 8:47 AM (10 days ago)

My blog went through a bit of a dry spell recently when it came to films sent to me for review, something that allowed me to become a bit lazier and do some shorter working weekends. That has all changed now though, a quick glance shows I still have half a dozen horrors on my radar. Onwards to the news, being written on yet another humid day here in England.

Beginning with some music news, goth pop-rock act Metamorph released a six track EP - Harlot in time for the Summer Solstice. The EP includes the title track, alongside a dance mix, an instrumental, and remixes from Spankthenun, IIOIOIOII, and Allie Frost. Metamorph's next full album; Haunted Hearts, is due for release this Autumn.

Deathgaze duo Vazum have released a new single titled 'Arise', which was inspired by the legend of the Phoenix. This is the second single from Vazum's upcoming full length album; Pretty Brutal.

Independent horror streaming platform Screamify has announced the addition of three new feature films to its library, which will be streaming exclusively on the platform. These three films are The Black-Eyed Children (a found footage about a counsellor's search for missing campers), Dreamland Awaits (Hungarian arthouse horror about a detective trying to save his family), and Lechuza; a supernatural thriller about a witch stalking a family on their camping trip. Screamify is available on major mobile and streaming devices.

Production on Zombie Plane has been wrapped up. This horror comedy that stars Vanilla Ice, Sophie Monk, Brian Austin, Ice-T and Chuck Norris playing exaggerated versions of themselves, does what it says in the title, by having a zombie outbreak during the middle of a flight.

The first trailer has been released for Dick Reno: Monster Slayer, a comedy horror adventure movie. Starring Eric Roberts, Jimmy Drain, Dawna Lee Heising, Ron Chaney and Jon Mack, this sees the titular man (Drain) battling a vampire king and his army.

CHO: A Tale of Voodoo is a new horror film said to be based on true events. In this, businessman David Cho and his family come into danger after he is cursed by a vengeful woman. This was written and produced by Frank Aguilar, with August Aguilar directing.

Finally for today (for I must do some tidying), Geno McGahee's first feature film, 2000's micro-budget Evil Awakening has resurfaced, and is now on YouTube where it can be viewed for free. The director states "It was my first film and it's chaos, but I'm very happy that it's been released into the wild again". The film is a horror about a crazed farmer who returns from the dead to get his revenge on campers and partiers.

No Choice (2025) - Horror Film Review 25 Jun 8:34 AM (11 days ago)

When I was younger, I occasionally dreamed of going to America, the place where so many cultural references in modern society have came from. That all changed due to the dawning realisation that things really are not ok in that place, at least according to my eyes. The Nate Hilgartner written and directed No Choice (the first film he was written, directed and acted in) tackles the topic of the removal of women's reproductive rights, taking place in a state where abortion has become illegal. It might not have demons or zombies, there may be nothing supernatural or paranormal here, but No Choice may just be the most haunting and horrific horror film I have seen all year. Feel good this is not!

Hannah Deale stars as Amy, a young woman who through no fault of her own becomes accidentally pregnant. Already working two jobs just to support herself and her drug addict mum; Debra (Jennifer Herzog), and having dreams of attending college, she realises she is in no position to become a mother. With abortion illegal in her state, and with no one to turn to, Amy has to carry the burden of her situation, deciding whether it is better to put her own needs first, or bring a child into a cold and uncaring world.

From start to finish, No Choice was an anxiety inducing nightmarish descent into Hell. Obviously an indie production, this nonetheless told its story in a very impressive way, and with no bad actors to be found among the cast. In terms of horror, this is grounded, with all events appearing somewhat realistic, the only concession to the more fantastical elements of the genre coming from the many nightmare sequences that occur whenever the protagonist sleeps. There were lots and lots of these ultra surreal sequences and they were visually impressive and full of ideas. It is so easy to have dream sequences in horror films appear cheesy and generic, but these just added to the unrelenting tension of the movie. You could argue that this is where the supernatural element does appear, as the nightmares often hint at things yet to happen to the protagonist. Rather than taken at face value, these scenes are used as symbolism, such as when Amy dreams about a doll that happens to be dressed the same way as characters in The Handmaid's Tale. Some of the symbolism didn't quite work for me, in particular, fireworks used to symbolise something obvious early on couldn't help but make me think distractingly of a similar use in the Naked Gun series of comedy films!

Outside of these, the film follows a realistic path, split into different sections that have an in-scene title card that states what week of the pregnancy Amy is on. These felt similar to the in-scene title cards that occurred in The Ring, giving the feeling of impending doom. Special mention goes to the score by Jonas Tarm, this perfectly accompanies the slow drip of horror and terror the main character faces throughout the ninety five minute runtime.

The film world is represented as a bleak and miserable place, full of indifferent, cold, and calculated characters. When Amy states at one point to her uber religious mother that she feels she is already in Hell, it is hard to argue. Characters she encounters are all emotionless and harsh, such as Dr, McAnnis, an E.R doctor (Maria Prudente) who Amy tries to get advice from, but who only grudgingly helps, more concerned with the law than helping out a fellow human. Then there is her boss, Randy (Adam Ratcliffe), another character whose humanity is reduced by his view that staff that work for him should be grateful for their jobs, and unable to really see outside this narrow viewpoint. Even her friendly colleague, Lucas (Robert Denzel Edwards), lets the protagonist down in her time of need, though that later one did have redeeming qualities to his character that made me feel sorry for him when events happen. All these were well cast, in particular with Deale who is the standout actor here, making her character of Amy someone easy to emphasise with, and to really feel for, despite the mistakes she makes along the way in her harrowing journey. A last shout out to Hayden Frank who plays the character of Seth. He might be barely in the film, but he left an impression, and was refreshing for the character to not be a generic stereotype.

Horror has often been used as a mirror to real world changes and situations. From an outsiders perspective (living in the UK), America seems like an ouroboros, consuming itself as it falls into self implosion. Whether that is actually happening or not is above my pay grade to say, but the loss of female reproductive rights, and the insanity of a health care system that is so expensive and stacked against the poorer members of society is certainly a real issue, one that is reflected here in an unsettling and harrowing story. I didn't enjoy No Choice, it left me feeling like I had been punched in the gut. If you are after a fun and entertaining movie then this is not going to scratch that itch. If rated on entertainment this would not get a high score. Rated on the original roots of the genre; horror to horrify, this low budget psychological horror was very effective, especially due to its mostly grounded realism. This is a film that should be seen, but as I said in my intro, this is no happy watch. No Choice had its world premiere on June 23rd, and is to be shown at the GASP! Horror Festival for its international premiere on June 29th in Manchester, UK.

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Abigail Before Beatrice (2025) - Thriller Film Review 23 Jun 1:28 AM (13 days ago)

Abigail Before Beatrice was a film that really benefitted from me not having read the synopsis before hand. I wouldn't say that is something you would need to avoid, just that by skipping that I found knowledge out at the same speed as it is revealed within the story of the film. Written and directed by Cassie Keet (Scream Therapy), this is a psychological drama/thriller that looks at toxic relationships and needing to feel valued via the lens of cults, especially with relation to the after effects of having been in one.

One day, loving father Will (Jordan Lane Shappell) is alerted to the presence of a strange woman in his farm based garden by his teenage daughter. Confronting the woman, he learns that she is called Beatrice (Olivia Taylor Dudley - Paranormal Activity: The Ghost Dimension) and that she once lived at the property and has been secretly returning to work on the strawberry patch that she once planted there. Perhaps recognising the sadness within the woman, Will gives her permission to help him with the gardening as long as she always arranges with him beforehand that she is going to come. Beatrice had once been a member of a small cult that had lived on the farm (one of the cult members being a small role played by Keet), but had disbanded after cult leader; Grayson (Shayn Herndon - Scream Therapy) had been imprisoned for killing someone. The other members of the cult had moved on with their lives, but for the still brainwashed Beatrice she couldn't let go, haunting the area like a ghost. One day she is visited by Abigail (Riley Dandy - Christmas Bloody Christmas), another former cult member, who reveals to the woman that Grayson has recently been released from prison.

I loved this film, and in particular I loved the first act. It starts out as if the character Will is going to be the protagonist, and it is from his perspective that we are first introduced to the actual protagonist character. It was only after she leaves the scene and the film sticks with her that I realised this is very much a movie about her, with Will's role slowly fading into much more of a side character. Taylor Dudley was frankly amazing in her lead role. There is an undeniable feeling of her character really not being the most balanced, at first I couldn't tell if she was going to be some sort of psychotic thriller stereotype, or if she was intended to be a sympathetic person. Thankfully, it fell far more into that later aspect. Beatrice is damaged, she is unhappy, and not entirely completely sane, but her role is played to perfection. Sure it could be argued that acting 'crazy' isn't the hardest thing to do (not that I would know not being an actor!), but here this insanity is subdued and something to pity the character for. I am always a fan of the proverbial 'madness dancing in the eyes', and Taylor Dudley is amazing at doing that. Will was fine, but a bit of a red herring in terms of where the story was going to go. More integral was Abigail who is the character that is the first to really reveal to the viewer the backstory of the protagonist. I thought the lost love between these two was very well shown on camera, with some dramatic scenes, especially their meet-up in the coffee shop.

Cult leader Grayson was another well cast character. I felt Grayson had a slight magnetic feel to him, though due to the way the story is told, he often appeared in some of the weaker moments.

The film is roughly split into three acts, each shorter than the one preceding it, but all unravelling pieces of the puzzle. The first act follows Beatrice post cult-life, seen as an outsider in the local community, but mostly seen as harmless. The second act is then a giant flashback to various events that occurred when the small cult was still going. This is mostly set up to show viewers (and Beatrice) that Grayson wasn't as noble and wondrous as the protagonist believes. It jumps about in time but reveals key events, from the arrival of Abigail to the commune, to the dramatic event that saw the leader arrested. This second part suffered a bit due to only really showing the bad times. Just taking those scenes on their own, it is hard to understand why Beatrice had such a fondness for the man. Things really come back together strongly for the finale, both serving as an epilogue to the film, as well as featuring a prologue. This third act in particular featured some amazing acting, again, especially from Taylor Dudley.
This is more a drama than anything else, though the thriller part steadily gets more prevalent. There wasn't much call for special effects, but there are some bloody scenes that delighted, and the self harm scars Beatrice is revealed to have did strike home a bit, due to that being something I used to struggle with (before I died, came back as a zombie, and started this blog of course!).

The weakness of parts of the middle of this couldn't dampen my enthusiasm for the film. I thought the first act was wonderful (even if there was one super awkward scene that made me have to pause the movie and take a few minutes away from it), and the third act was even better, this third act was almost flawless I would argue, and had some surprising and powerful moments. At nearly two hours long, the time flew by, I think it benefitted by being so obviously split into different sections, meaning the changes in time and place gave the feeling of a breath of fresh air. A sympathetic look at a damaged person, and the effects of a toxic relationship, Abigail Before Beatrice was mesmerising and something I am very happy I got to experience. Abigail Before Beatrice had its world premiere at Bentonville Film Festival on June 19th.

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The Death of Snow White (2025) - Horror Film Review 20 Jun 9:01 AM (16 days ago)

Co-written and directed by Jason Brooks (Revenge of the Boogeyman), The Death of Snow White is a dark fantasy indie epic that isn't afraid to show a lot of blood and guts over its one hundred and ten minute run time. This felt like a film that would have been made in the mid 2000's, a particular type of cruel edgelord/grim-dark to it that was nostalgic, but also a bit over the top.

Many years in the past, a wicked witch (Meredith Binder - Beloved Beast, The Anatomy of Monsters) attacked a castle, killing many in the process, including the Queen, though her new-born baby was saved. In modern day, the King is long dead, and his new wife (Chelsea Edmundson - Howlers) has taken over running of the kingdom. Unknown to all is the fact that she is actually that same wicked witch in disguise. This Queen is obsessed with eternal youth, having to perform all sorts of nasty blood magic to retain her looks. The new-born baby, now grown up is Princess Snow White (Sanae Loutsis - Beloved Beast), and she is someone loved by her people for her kind and gentle soul. After the evil Queen instructs her personal guard known as 'The Huntsmen' to kill Snow White's villager friends, Snow White flees into the nearby 'dark woods', let go by the head Huntsman taking pity on her. While the evil Queen seeks to get her back, and a prince in love with the girl (Tristan Nokes) sets out to rescue her, the girl befriends seven deadly dwarfs who reveal to her who is really in charge of the kingdom.

I'm sure the original fairy-tale was plenty dark, but my only point of reference was of course the Disney version of Snow White and the Seven Dwarfs. This may be the telling of an old story but this injects plenty of horror into things. The prologue sequence may actually be the best part of the film, it follows the wicked witch on an impressive rampage around the castle, this part really reminded me a lot of the Darth Vader part from the end of Rogue One! Sure there is a poisoned apple involved somewhere within this story, but this witch is as evil as they come. She is shown throughout to have plenty of evil spells she is able to cast, making her a formidable opponent. For much of the film she is in her glamour look, Edmundson is able to make her seem so utterly evil, and the subplot of the various things she gets up to in order to remain looking vibrant is where the film gets quite nasty. From bathing in a bath tub with the severed in half remains of a village girl, to having her maids rip the teeth out of an unwilling victim, and the Queen herself cutting her own toes off as part of her always nasty looking blood magic.
There are a lot of characters here, highlight probably would be the dwarfs. Here, they are played by real people of short stature, and were a likeable if barbaric lot. The first fight scene they appear in was insane, with the group violently murdering a whole bunch of soldiers. Throughout the movie there are lots of fight scenes, most of them featuring a whole load of blood and severed limbs and lost internal organs!

Blood is a constant, and there is at times a real B-movie feel to how over the top all the gore is. A man whose head is smashed against a tree with a giant wooden mallet in slow motion, and a character whose semi-skinned alive both made for memorable segments, but this also made the film often feel dark for dark's sake. It doesn't help that the humour that is there to diffuse these high stakes falls flat mostly. Either too darkly comedic, or in the case of the two young court poets; too unfunny and uninteresting. The Death of Snow White goes a weird way where it is at once far too self serious, but then also failing to remove this serious tension by the humour not working.
This movie did have some great set design, and the costume design in particular really stood out. The special effects were also often great looking, while the soundtrack while nothing too special, did evoke the feel of a fairy tale.

There is lots of horror here, even more blood, and it does a unique spin on the classic tale. There is a real nostalgic, yet severe edgelord vibe to the whole film. It was entertaining to watch, but it also suffered due to how straight and bleak many scenes were. With Edmundon in particular you had a fantastic antagonist, and with Loutsis you have a sympathetic and endearing lead, but there was something odd about the tone of the movie that meant it never completely ever sat well with me. The Death of Snow White becomes available on July 1st on all major streaming platforms from The Horror Collective.

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The Rotting Zombie's News Anthology for Thursday 19th June 2025 19 Jun 8:41 AM (17 days ago)

Here in the UK it is quite a humid June we are having, with the constant threat of a rain shower that never seems to come. I'm determined to actually get five blog posts written this weekend (at time of typing), as I have been getting lazy and my screeners to watch pile has been increasing! Onwards to the news.

I hadn't even realised it was out, but the Watts Brothers are working on a sequel to their unique found footage movie Black Daruma. This always stuck out to me, as the film was apparently shown from the perspective of a cursed Japanese Daruma doll! The sequel, titled Red Daruma, is due to hit screens later this year. Of this sequel, Toby Watts stated:
"The whole idea of there being other cursed Daruma dolls out there and some kind of link between them all really excites us. We've got an amazing location for this one and can't wait to bring it to the screen for the fans to enjoy."

Tonight She Comes is now available to stream on MoviVue. Two friends lost in woodland encounter a naked girl possessed by an evil spirit, as well as a backwoods Satan worshipping family of psychos. This comes from director Matt Stuertz and stars Nathan Eswine, Larissa White, and Jenna McDonald.

Finally for today, a trailer has been released for first-time filmmaker Mark A. Williams' feature length supernatural slasher Mary's Lake. This often repeated story sees a group of camp counsellors who find themselves being hunted by a recently escaped mental institution patient, one who also carries a supernatural force within him. The film promises to pay homage to classic camp slasher movies, done in a respectful way. Mary's Lake was an official selection at both the Crimson Screen Horror Film Festival and the Moonless International Film Festival in 2025.

The Invisible Swordsman (1970) - Fantasy Film Review 18 Jun 11:53 AM (18 days ago)

Described as an 'unseen gem', The Invisible Swordsman is a high energy fantasy film that is far more goofy and non-serious than its poster and synopsis might suggest. Directed by Yoshiyuki Kuroda (Yokai Monsters: Spook Warfare), this tale of an invisible man may feel quaint and old fashioned, but it does have some charm, and a great looking set.

Taking place during the Edo-era, Sanshiro Yuzuki (Osamu Saka) is the son of a well renowned samurai master. He is a member of his father's dojo, but unfortunately for the boy, not only does he have no skill with weapons, but he is also a massive coward. After his father is murdered during a midnight raid on the village by a group of black clad ninjas known as the 'Phantom Thieves', Sanshiro pledges to get revenge, but laments his own lack of skills. An apparition from the underworld takes pity on the boy, telling him how to create a magical potion that will make him invisible. Using this potion, Sanshiro goes after those he suspects of being responsible, his lack of skill hidden by the fact that he cannot be seen by the people he attacks.

Not only was this family friendly, I would go even further and say this was designed as a children's fantasy film. There is some death over the near eighty minute run time, but these death scenes are without blood or gore. While there are plenty of action scenes, the protagonists methods are almost entirely non-lethal, such as fighting goons while armed with shoes as weapons, or scaring his enemies away by chasing them with objects that appear to the goons to be floating. Special effects are passable, but I did keep in mind throughout the age of the film, Floating objects are passable, as are the stop motion footprints that pop up when there snow is on the ground or water. The ghostly images of the apparitions felt quite creepy, but I don't believe that to have been purposeful. The cheerful and jolly soundtrack continues the feel of this really not intended to be a dark or serious movie. I did kind of come to respect Sanshiro's way of fighting. A highlight was a later scene where the goons are using floor mats and sheets to try and block the invisible man in.

The story was wafer thin, but at least that meant that the action stayed in the neat looking historical village setting. I had no complaints whatsoever with the lovely set design. Characters are many, but most fall into an extreme over the top way of acting. There are lots of people looking ultra shocked at the events transpiring around them, worst being the two comedy characters who work for the strongest warrior in the rival dojo. I enjoyed these very exaggerated acting styles, but that also stretched to the dialogue which has a grating habit of being shouted out by characters. Worst of these unfortunately was the lead, Sanshiro's cries for his father were so irritating to hear that I found myself reaching for the mute button on more than one occasion.

The Invisible Swordsman was an old fashioned and out of date family fantasy film that felt very much of its time. I appreciated this, but wouldn't go as far as to say I particularly enjoyed it outside of appreciating what it was going for. On June 23rd The Invisible Swordsman becomes available to stream on ARROW.

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Millionaires Day (2024) by Kit Power - Thriller Novella Review 17 Jun 11:27 AM (19 days ago)

My quest to make more of an effort to get through my vast backlog of book requests was helped by the next book I chose; Kit Power's Millionaires Day being a novella. The story here is based in Milton Keynes, UK, a surreal choice for me as that is pretty much the next town (while it has recently been made a city, it will always be a town to me) over from my own!

One day in 2019 (according to the synopsis), everyone in the UK woke up with a million pounds in cash under wherever they happen to have been sleeping. This novella charts the effects this has on the population by following a random selection of people from Milton Keynes. There is a neglected girl (Emma) with an imaginary friend who believes the money was a gift from Santa. A homeless man (Henry) with the desperate hope of re-starting his life somewhere else, a policeman struggling to deal with the unfolding chaos, and Pete; a lowlife criminal whose gang leader - Mental Mickey, enacts a plan to steal as much money as his gang are able to.

I always try and avoid reading the synopsis for anything I am going to read/watch on this blog. For me, I didn't expect things here to go as south quickly as they do. From the novella, it was never obvious that this weird event had occurred countrywide, it didn't even really feel like it had happened to many of the people in MK. With the almost supernaturally thick fog coating the town, this created a feeling of this particular set of characters having inadvertently stumbled into The Twilight Zone. I couldn't shake my thoughts of this, but it added to my enjoyment. The book is split into (if my memory serves me correct) three distinct parts, each part taking place over a different hour. Each part is then split into chapters, with the chapters being titled with the specific timeframe they are happening in. While the many protagonists don't know each other, there are some wonderfully timed moments in the story where by pure chance, the paths of all the protagonists cross. I loved seeing the same event play out from different perspectives, each viewpoint having a narrow reaction, based only on the information the particular character would have had.

I have been to Milton Keynes many many times. Reading this made me realise that I had never really travelled anywhere in that (to my eyes) clean but soulless city, as I was never reminded of my experiences of that place. This version of the city is grimy and crooked, decrepit apartment blocks and dirty back alleys, of characters either corrupted or prey, and there isn't a lot of happy outcomes for many of these characters who appear. Of the three main plots going on, the homeless man story was almost a prologue, serving to introduce the character of a policeman whose journey would have him heading all over the city. The little girl's storyline is probably the most bleak, with her falling prey to a perverted security guard, and the one based around the gang was the most detailed, likely due to featuring the most characters. This gave the book a bit of a crime caper feel, I liked how it is shown to the reader the various subplots going on within the book. There are some very dark moments here, but this is balanced with the light in what became one of my favourite sections of the novella. There are lengthy paragraphs introduced later on that are first person perspectives of the story told from the viewpoint of a dog! Initially really confusing to read, I eventually settled into a decent pattern. These dog viewpoint sections really did create a fun feel for a simple character whose main drive is to be called a 'good dog'!

I loved this novella, especially with the story taking place so close to my doorstep. I enjoyed the more potentially supernatural elements here, and the wide variety of characters and events taking place. The stories occurred in an intelligent way that allowed things to ever move forward without becoming dull, though this isn't a feel good story at its heart, as it delves into the darker side of human greed, and just what lengths some people are prepared to go to, to achieve their desires. Millionaires Day is out now via French Press.

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Bleeding (2024) - Horror Film Review 16 Jun 3:40 AM (20 days ago)

Bleeding is a vampire film that does things a little differently, not so different that I couldn't find a film to compare it to. The tale of blood addiction of course reminded me of classic cult film The Addiction, though here the story is even more grounded, taking the action and drama to a backwater American town. Written and directed by Andrew Bell (Let Me Play) in his feature length directorial debut, this serious drama provided a stark portrayal of misery, addiction, and loss.

This takes place in a world where a highly addictive and dangerous drug known as 'blood' is doing the rounds. The drug is harvested from the blood of people infected with a disease that causes them an unnatural thirst for non-infected blood. The danger being, taking too much can pass on the infection, and with death being the only solution the authorities have came up to prevent the out of control infected from quenching their thirst for blood, this isn't a great thing. A year previously, teen Eric's (John R. Howley) older brother caught the infection and had to be put down. This caused his mother to fall into an intense depression, with Eric himself turning to drugs to deal with the pain of the loss. When Eric discovers his cousin and best friend; Sean (Jasper Jones) had his hands on some blood, with the intention to sell it, Eric is shocked. After the drug is destroyed by Sean's cop father upon discovering it, Sean reveals that this is a terrible thing, as now he owes small town psychotic drug dealer - Dustin (Bell) a lot of money, having been given the drug to sell off of him. Breaking into a rich person's summer home in order to find stuff to sell to help pay off the debt, the pair instead encounter missing girl Sara (Tori Wong), who herself has become infected by the blood disease, and who is seeking a way to escape the country and make it to Canada where it is hoped a cure can be discovered.

Vampires, this film deals with those blood sucking creatures of the night, but in a grounded way. The vampires here are those addicted to blood. Rather than grow fangs and seduce people, these blood junkies turn animalistic and out of control when needing to feed, as well as having a strong aversion to daylight, whose affect causes them to violently spasm. With a title screen of text explaining about the film's world, this begins its sombre and serious story. Much of the film centres on Eric and Sean, neither whom make for that likeable a pair. Both are swiftly shown to be addicts, though both are also given a somewhat sympathetic reason for why they are like they are. For Eric, it is the death of his brother and his broken mother. For Sean, it is his alcoholic father, with it implied the man may have turned to drink as a way to cope with having to murder the infected. The two protagonists had a good rapport with each other, though they spend much of the hundred and seven minute runtime bickering and pushing each other. Underneath all that, you can tell the bond they have. The film was light on characters, the remote woodland based town explains this, and with the story so focussed on characterisation rather than grand sweeping events, this worked out well. I really liked Dunn's Hank, the quiet way he spoke made me strangely like this antagonist. I also felt that Wong was great in her small role, especially the facial expressions she pulls when she is needing her fix of human blood.

Much of the film is dark and dingy, the characters morose and serious. Drug addiction is never presented as something 'cool', with characters under the influence near useless and odd behaving. There isn't much need for special effects, but these look decent on screen, lots of blood being spilt. Vampires here aren't really the focus, it is more centred on a world struggling under the community wide effects of substance abuse. Human antagonist dealers like Dustin are the real monsters here, seeing infected just as commodities to harvest from. There are scenes of action and gore, one early highlight being a found footage style scene of Sean's father's bodycam footage of dealing with an infected, shown from a first person perspective. The soundtrack was stripped down and often morose, the one inclusion of a heavy rock track worked in context of the scene where it was introduced, but was an off putting contrast to the depressive and bleak outlook of the movie when it began playing again over the subdued end credits.

There is nothing feel good to be found in Bleeding. It also wasn't a film that I was at any point bored with. This is one of those types of movies that fall into the peaceful types. Character are often quiet and talking with each other, meaning for someone like me who had taken a powerful sleeping pill the night before (for insomnia), and was still suffering the effects, I often struggled not to fall asleep, though this wasn't due to boredom on my part! The idea here has been done before, but the misery of the film world kept me glued, fully expecting a bleak outcome for all the unhappy characters involved. Bleeding came to SCREAMBOX exclusively on June 10th.

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The Rotting Zombie's News Anthology for Thursday 12th July 12 Jun 10:25 AM (24 days ago)

It is nearly summer once again, not much has really changed here at The Rotting Zombie HQ. Recently got my hands on a Nintendo Switch 2, though I can't imagine there will be much horror adjacent stuff on it. Onwards to the news.

The Apex Predators Club is to be the last film from The Mahal Empire, due to the sad and unexpected passing of indie producer Michael Mahal. This high-concept horror-thriller had an Indiegogo campaign launched on June 6th, this was to raise the remaining funds to make the film as good as it possibly can be. Originally filming was due to start in July, but this has been rescheduled for September. I have seen many films from The Mahal Empire over the years, it was unhappy news hearing about Michael, hopefully the company will go out on a bang.

Reese Lightfoot's short horror film The Demon in the Motherboard has won Best Short Film at the Astoria Film Festival. The short follows Morrigan; a coder and cybersecurity expert by day, and who searches the dark web by night for evidence of a legendary relic that is said to either by a powerful A.I, or a mind-rewriting virus.

Finally for today, Yellow Brick Road has been added to the streaming service MoviVue. After an entire town's population walk up a mountain trail and disappear, a group of explorers decide to take the same route. It is there they discover an ancient evil within the New England woods. To find this and other horrors, head to the site and have a look.

The Protector (2025) - Post-Apocalyptic Film Review 11 Jun 8:17 AM (25 days ago)

It's been a while since I last viewed a post-apocalyptic film for review, so I was on board to give the Raul Gasteazoro written, directed, and co-produced thriller The Protector a fair chance. This may be cribbing from the homework of the Mad Max series of films, but offers a more hopeful spin on the end of civilised society.

This takes place in 2042, a time where a variety of factors have led to the fall of mankind. An incurable disease known as 'the rot' has killed much of the population, which has coincided with virtually everyone left being infertile. Added to the misery is a severe water shortage that is changing the world into a barren wasteland. Key (Marguerite Moreau - Queen of the Damned, The Mighty Ducks) is a prisoner of what is left of the corrupted government. Local government warlord Gael (Aryeh-Or - Charmed TV show, Siren TV show) knows that the last clean natural water source still remaining resides on a Native American reservation, but he is unable to get to it due to the land around the reservation being booby-trapped. With Key having been married to a Native American woman in the past, Gael frees her, on the condition that she show him a way past the many traps (due to her wife having revealed a way through to her before her death). Key's mission is made much more difficult when she discovers a young boy named Kellan (Mark Lane III) out in the wastelands and decides to become his protector. This immediately makes her a huge target due to the remaining government offering a substantial reward for the delivery of any child to their care for testing on.

The Mad Max vibe starts strong, initially in my head I was thinking of Key as 'Mad Maxine', though as the movie goes along she is shown to have more compassion and hope than that other wastelander. Her backstory is revealed via a series of black and white flashbacks, tragic, but also a little silly as it all revolves around a post-apocalyptic sport named 'dust jousting' that is as stupid as it sounds. Still, what sort of post-apocalyptic film would it be without its version of a fall of society sport. The present day stuff is your typical dust filled wasteland vibe. People going around wearing surely vision restricting goggles and face coverings. The good people often finding themselves at the mercy of Gael's violent and brutish henchmen, who travel around in a motorbike convoy. The impression of a wasteland is carried out well, but at times it did feel like a set of sperate locations rather than a sprawling world. I found the more hopeful feel of the storyline at times a little soppy, such as on two separate occasions when bad guys decide to become good guys purely from receiving a little hope. Protagonists were mostly decent, and while I did think Gael made for an intimidating antagonist figure, he got far too little screen time to really make too much of an impression.

Some of the special effects left a little to be desired. Chief of these was an early van explosion that had fire that really didn't look the most realistic. On the flipside, there are plenty of beautifully choreographed fight sequences that show Key almost effortlessly being able to take out scores of bad guys in close quarters combat as if she was some sort of apocalyptic Batman. These fight scenes packed a punch thanks to some crunchy sound effects, and never failed to look great. The best of these had Key and the people she was fighting all shown on screen as black silhouettes, lovely to watch!

The Protector was a decent post-apocalyptic movie, though its story of hope didn't feel all that novel within the genre. It mostly worked well to the limitations of its budget, able to tell this slightly generic story in a well realised way. It might not be the most original film, but I had fun watching this regardless. The Protector came to theatres and On Demand on May 23rd, distributed by Vertical Entertainment in partnership with JD Beaufils of Blacktop International.

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Halloween Girl - Book Three: Gods & Monsters (2025) - Horror Graphic Novel Review 10 Jun 11:24 AM (26 days ago)

Richard T. Wilson's Halloween Girl series was a comic that I initially had low expectations for, but was something that quickly grew on me the more I read it. Halloween Girl - Book One: Promises to Keep brought together the first seven issues and was a great introduction. Halloween Girl - Book Two: Dead Reckoning was another great entry, especially when it came to the artwork. Due to the second book serving as a prequel though, Halloween Girl - Book Three: Gods & Monsters is a sequel to the story told in book one, and was another darn good read. Unavoidable spoilers for the other book to follow.

Halloween Girl is a series about a ghost called Charlotte and her supernaturally powerful friend Poe. With The Hollow no longer operating (a demonic group who were able to infiltrate the dreams of their victims), things have settled down a bit. Unknown to the pair though, some of The Hollow have found a new leader, bizarrely in the form of a young child named Kevin. Inhabiting the forms of toy figurines in the boy's playset, these beings not only worship Kevin, but are very prepared to go to lethal lengths to make sure his life is a good one. Realising that the boy is not to blame for this, Charlotte and Poe seek a way to convince him that these creatures are not good people, part of this help being to find a way to stop Kevin's abusive father from hurting him anymore.

Spread over four lengthy chapters, this tells a great story, better than I had expected. Despite being a bit murky on the details of book one, I pieced together what had happened there, something that continues to have an effect on Poe. The highlight of the whole graphic novel was again the art of Shahed R. The black and white illustrations are so wonderfully drawn and full of life, very expressive faces on characters which never look over the top, and some amazing shading going on.

I loved the story, and genuinely found the idea of toy figurines possessed by demons to be fantastic. I loved that these toys worshipped Kevin, and there are some strong moments of horror. This story again has a lot of heart to it, being sentimental without being overly so. It deals with death and grief in a mature way, making sure to always have a balance between the darkness and the light.

A great story coupled with great art and shading left me more than happy at what I had read here. It might not satisfy those wanting something more darker and mean spirited, but I always think there is something really uplifting about the stories told in Halloween Girl. Halloween Girl - Book Three: Gods & Monsters released June 3rd from Mad Shelley Comics.

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Faro (2025) by Harold Nono - Music EP Review 5 Jun 9:28 AM (last month)

For the first time in goodness knows when, I am putting up a music review that is actually relevant to the genre of horror. Faro is a four track EP that comes from Harold Nono and features music that wouldn't feel out of place in a horror film.

The roughly seventeen minute long EP is made up of four tracks that straddle the line between soundscape and soundtrack. It begins with 'Raukar', the shortest track on the EP at three and half minutes, this was a moody and horror tinged soundtrack that felt like it would be perfect alongside a haunted house movie. Next up is 'Hour of the Wolf' that had more of a soundscape feel to it. Despite the title, this gave impressions of an alien landscape, especially with a heartbeat echoing throughout, and a finish that smoothly transitions into an electronic sound. Penultimate track is 'Broa Kiosken' with its morose cello conjuring images of a gothic mansion, and finally ending with what I felt was the best track, the sweeping grandiose 'Sketch for Faro' that was both a strangely uplifting and dramatic finish.

As the soundtrack to a lazy Sunday walk to the local shop, this worked in making everything seem just that little bit more mystical. With a short length the EP felt perfectly balanced, though is something that works as music to appreciate rather than music to dance to. Harold Nono's Faro was released at the end of April via Bearsuit Records. It can be found on Bandcamp.

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The Matriarch (2024) - Horror Film Review 4 Jun 8:13 AM (last month)

It appears that next year I shall be going on vacation with my father to Australia for a month to visit family. What better way to celebrate this news than by watching an Australian horror film. The Matriarch was written and directed by Jayden Creighton (Kinks) in his feature length directorial debut. I had zero expectations for this, I imagined it would be some sort of drama/thriller, so I was pleasantly surprised to see this had far more in common with a slasher.

Thirteen year old Missy (Juliette Greenfield) lives in rural Australia with her psychotically mentally unwell mother, Annette (Kate Logan - Kinks). The pair are staying in the house of Annette's mother who has gone away on an extended vacation. Returning home from school, Missy is dismayed to see that Trent (Andy Sparnon), an old boyfriend of Annette's recently out of prison is there, and the two are deep into an alcohol and drug binge. Later that night, Trent forces himself into Missy's room and she has to defend herself with drastic results. The consequences of this tip her mother over the edge, in a furious rage she becomes determined to murder her daughter, and anyone else who happens to get in her way.

The Matriarch takes little time to really get into the meat of its story. Before even twenty minutes of runtime has passed, Missy finds herself being stalked by her mother over one long (and blue tinted) night of terror. It was apparently Greenfield's first acting role, not that you would think that as she was by far the standout actor in the film. She has a vulnerability and innocence to her character that comes across as so natural. She also projects clearly the fact that despite her mothers derangement she does legitimately love her and wants the best for her. Being a young teen, there is a power mismatch, so Missy has to result to some Home Alone style tricks to impede her mother, such as putting broken glass on the floor, and using some type of insect repellent as a weapon. She spends much of the movie terrified and trying her best to escape the locked home. I wasn't completely sure about Logan's character of Annette. She obviously has mental health issues, seeing her daughter as corrupted and evil, and you could easily say the version we see in the movie is full of drugs and alcohol on top of that. She felt like a slasher villain, but with a more personal relation to the 'final girl'. The way she constantly growled and her guttural speech gave the impression of a mad dog. Sometimes this seemed almost over the top, but it worked, I especially liked the moments when she is trying to act normal around other characters, but is obviously tweaking and barely holding it together. Her internal cocktail of mental health issues and drugs also make her very irrational. Along the way there becomes a small body count, with an almost random way Annette is trying to hide her increasing crimes.
Little of the film dwells on the characters past, there was a prologue used to show the mother's mental state even when Missy was a baby, and there is a very effective split second shot of a camera flash to starkly reveal to the audience just why Trent is not a good person. I wasn't so sure about the later extended flashback of this scene, as I felt it had been perfectly summed up with that single inserted image in the first part of the movie.

The film looked fantastic, mainly set at night inside the large house the pair live in, there is plenty going on. At one point Missy ends up in the attic with her mother trying to axe the attic floor open, another time she is under the house. There are some good looking blood effects, Missy getting increasingly battle damaged over the course of the eighty minute film, and victims getting stabbed and bludgeoned with effective sound effects. One particular highlight was a gunshot - that was part of such a great scene. Annette had a bit of a movie maniac about her, coming back from things you would expect to have killed or severely debilitated her.
Special mention goes to the films score and soundtrack. There was one moment where I could hear the sound of cackling kookaburras mixed into the dramatic music, very well done. I also enjoyed the end credit sequence with its very angry and shouty song playing.

I loved The Matriarch, a near perfect blend of slasher and thriller with a bit of home invasion in the mix. Greenfield was very impressive in the lead role, you would never guess it was her first acting job, and Logan despite being slightly cartoonish, made for a fearsome antagonist. The Matriarch releases on June 10th from Studio Dome.

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Outbreak: The Hunger (2015) by Scott Shoyer - Zombie Horror Novel Review 3 Jun 12:09 PM (last month)

Scott Shoyer's Outbreak: The Hunger is yet another book I have had for review for a ridiculously long time, having first received a copy back in 2015. At that time, a girlfriend had agreed to help me get through my backlog and read some books on my behalf. She did actually read this novel but soon after we split up, so I never found out her thoughts on it, unrelated I'm sure! Now, I have finally gotten around to reading this, and boy, I wish I had read this one sooner.

John and his young daughter Fi have gone on their monthly visit to the local zoo near where they live in Texas. This trip feels different than usual, with a weird atmosphere at the place. Many of the zoo exhibits appear to be empty, with the animals that are still there behaving very aggressively. John almost decides to cut the trip short when a nervous young man is witnessed being roughly detained by a group of soldiers, but his daughters love for the train that runs around the zoo has John agreeing to ride it with her before they leave. This turns out to be a terrible mistake as staff and passengers alike come under attack from vicious animals. In the unfolding carnage the train derails, John, Fi, and a small group of other families survive, and decide to follow the track back to the zoo. They soon discover that they are being stalked from the shadows by the animals, who are not done with the group yet.
Elsewhere, the survivor of a violent animal attack at an animal rescue shelter is taken to a secure facility by the army, with it revealed that animals had escaped from a government lab, caused a localised outbreak, and that this survivor is patient zero - the first human to be infected by whatever disease or virus has affected the animals so dangerously.

This is a sick book, and for those who aren't on board for a whole lot of animals attacking both adults and children in violent and sickening detail, you might want to get off the train now! There is a cruelness here, with the book often seeming to go into unneeded excessive descriptions of the violence being inflicted. That is not to say I didn't like The Hunger, instead, I thought this was a great novel that really did do something different than the traditional zombie story. Firstly, I thought it was a neat idea to have the whole novel just tell the story of the initial outbreak, before the infection had even spread to humans. There are a few human-like infected here, but mainly just in the more traditional patient zero based subplot rolling on in the background. The zombie animals act very different, even to other zombie animals that have appeared in other books. These ones are as a unit extremely deadly and also extremely fast. The initial attacks are so swift that characters aren't even sure of what is happening, and the animals have some odd behaviour, such as occasionally being found all passed out rather than moving around. These animals also exhibit an intelligence that is frightening to see. Far from acting like dumb creatures, these infected appear to be able to work together and make plans, such as automatically going after any human who appears to be trying to use their phone to contact the outside world.

The infected animals are the ghastly stars of the show, and being set in and around a zoo there are excuses for why there are a large assortment of these creatures. Everything from tigers, lions, and bears to goats, meercats and wolves. They attack in explicit detail with victim's body parts being ripped off and chewed up, again, especially distressing when it is happening to young children!
John, generic name aside, made for an engaging protagonist. The backstory of him surviving a dog attack as a child explains why he is able to lead the group, while his worsening vision, due to forgetting the eye drops needed after a recent operation on his eye, gives a sense of bigger danger. His determination to protect his daughter is well realised, and really there wasn't much bad about this part of the novel. The subplot was less interesting only due to secret army bases and experiments on infected being so part and parcel of the zombie genre. Occasionally the novel gets a bit carried away, with a few chapters, especially near the end, which seemed to just be there to pad out the length of the book rather than add anything new. Some of these mini-stories of characters meeting their end were worth reading. I loved the really cruel chapter that saw a man trying to find his children, unaware that not only were they already dead, but that unknown to him he had sustained a fatal wound himself. This just exemplified the jet black humour that would sometimes pop up.

I loved Outbreak: The Hunger, it genuinely hooked me, but at the same time, I sometimes had to take breaks due to the misery and horror of the story. This sets itself apart from other zombie novels by taking a wild deviation to the tried and tested expectations, but towards the end especially it had some twists that I would hardly say I didn't see coming from a mile away. This was the first in a planned trilogy, with a quick Google search revealing the other books in the series are now written and out, I may have to check those out on day (turns out I also have the second book awaiting review on my heap of shame).

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Doom Eternal: The Ancient Gods - Part Two (2021) - Horror Video Game DLC Review (Playstation 5) 30 May 8:43 AM (last month)

Continuing my playthrough of the previous games on the path to Doom: The Dark Ages, I have played and beaten the second of the two story DLCs (also available as a standalone mini-game) for Doom Eternal, funnily enough, this one is called The Ancient Gods - Part Two. I didn't have high hopes due to the first DLC being neat in terms of lore, but exhausting in terms of incessant combat. Thankfully, the developers seem to have realised their error with a much easier, and albeit, shorter second set of levels that were much better designed and more fun to play. Unavoidable spoilers for both Doom Eternal and The Ancient Gods - Part One to follow.

With the Dark Lord of Hell resurrected by the Doom Slayer, all he has to do is kill him. It doesn't turn out to be that easy as the Dark Lord teleports away to the prime city of Hell, challenging Doom Slayer to meet him there if he wishes to battle. Part Two is therefore the journey of the protagonist to this city.

This again is made up of three levels, kind of anyway. There is actually a fourth level, but that is just a boss fight. My issue first time around was how combat heavy and dull the levels were. This time around the levels feel like they are in the same style as the base game levels, rather than being endurance runs. The challenge was much lower, I again played on easy (now in my forties my reactions aren't as great as they once were), but this time it did feel a little easy. There was a strange Halo vibe to this second DLC, with the levels feeling like they wouldn't be out of place in that game. Like before, the three levels all take place in different realms. Starting off out in the rocky countryside of Argent D'Nur, which includes a dragon ride and plenty of platforming, things then move to a post apocalyptic Earth city, before finally heading to the principle city of Hell. These all looked great, but there has been a steady shift from supernatural to science fiction. No longer does it feel like you are battling demons, but more like an ultra advanced futuristic society! The last level in particular had this feel, but it was countered by having it take place during a massive war raging in the background.

The new enemy types from Part One reappear here, and plenty of new enemy variants are introduced. You have stone version of imps, armoured versions of Hell beasts, zombies with indestructible shields, and a rarely used enemy that can curse you, the only cure being to hunt down the teleporting idiot and punch him. A new weapon appears here, a giant hammer that when used stuns all enemies around you. This weapon was ridiculously useful, meaning that there wasn't much fear when surrounded by hordes of enemies. A new platforming element is also revealed, there are now grapple points floating in the sky that you can hook onto using the super shotgun. Some of these platforming sections were a bit intense, thankfully you no longer lose health when falling to your doom (Doom?), making them perfectly fine despite not really having a place in the universe.
The story was basic, but again, the lore you can collect was excellent. I especially liked how the lore of the second level is then shown to be lies by the lore of the third level. Doom Slayer also finally gets to speak, something that was a lovely surprise!

I was prepared for another faintly boring collection of combat challenges, instead Part Two delighted by feeling much more like the base game. I'm glad I played through these, though I probably won't ever return to them. Enjoyable, and a fine farewell to Doom Eternal. At around two and a half hours long this is a shorter part, but it goes to show, sometimes less is more as this is superior to Part One.

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The Rotting Zombie's Round-up of Horror News for May 2025 29 May 8:52 AM (last month)

I've had a blissful and very lazy week off of work this previous week, and that is reflected in my blog output that features zero film reviews. Those will be returning next week in full force I am sure. Onwards to another selection of stories plucked out of my bloody mail sack.

Emmett Loverdale's Without A Name is now available on Amazon Prime. This horror, which stars Jeff Wittekiend, Desi Cruz Brooks, and Deborah Kay Johnson, is about a teenager who gets caught up in a youth worshipping cult that hates adults.

On June 1st, found footage streaming platform FOUND TV is launching an Indiegogo page for one of its first ever FOUND originals: A Possession in Lincoln County. This is currently in development by 105ive Films and FOUND TV. While the film will be coming to the streaming service, the only place to get the director's cut (with extra scenes and an alternate ending) will be from the Indiegogo page, with copies limited to just 500 on DVD/Blu-ray. Pre-orders for this director's cut of A Possession in Lincoln County can be found on the Indiegogo page here.

Gothic industrial metal band, Our Frankenstein have announced the release of new full-length album, Magnum Spire Hotel, which is out now via Reclamation Records. This has a concept theme of a haunted hotel with the press release stating 'Each floor takes listeners deeper into levels of psychological depravity, all building towards a grand ball at the top-where YOU are the guest of honor'.

Bitter Souls came to Amazon on May 15th after a limited theatrical run. The film tells the story of a murdered teenage girl whose boyfriend becomes determined to find her killers. To help him, he gets the help of Father O'Reilly (Karl Barbee) and voodoo priestess Mahlet (Destiny Brown) in order to defeat the evil houngan Immanuel.

Premiering on SCREAMBOX on June 10th (and additional VOD platforms) comes Bleeding, which was written, directed, and produced by Andrew Bell. The film takes place in a world where vampire blood is harvested as a drug. The story follows teenager Eric, who is determined to prevent his cousin Sean from getting into this shady world.

Finally for today, Shiver is a Christmas themed slasher film that is currently in pre-production, and is coming from writer/director Robert Resto. Principal photography is due to begin in January 2026. Based at a snowy ski resort, this follows a group of friends away on a Christmas getaway who of course find themselves being stalked by an unknown killer.

Doom Eternal: The Ancient Gods - Part One (2020) - Horror Video Game DLC Review (Playstation 5) 28 May 9:26 AM (last month)

With Doom: The Dark Ages releasing recently, I saw fit to make my way back through Doom, and finally get around to finishing Doom Eternal, a game I had initially bounced off of due to the hard difficulty. The Ancient Gods - Part One is the first of two story DLCs released for the game. It promised an even harder challenge than the base game, while giving loads and loads more lore about origins of the Doom universe to the plater. Spoilers for the base game to unavoidably follow.

Having defeated the Icon of Sin and stopped Hell's invasion of Earth, Doom Slayer doesn't get a moments break. With the Heavenly forces of Urdak defeated, Hell have invaded their dimension, allowing them to reignite their assault on Earth in the process. Working with Samuel Hayden and his team, Doom Slayer is tasked with travelling to a secret UAC base and reawakening an ancient being known as the Seraphim, someone who will be able to help the Slayer to resurrect The Father and end the madness.

I had heard that this DLC was even more chaotic and full of action than the later half of the base game. When the difficulty select screen mentioned that even on easy mode the challenge would be a lot harder I can't say that filled me with excitement. Boy, is this DLC full of combat. Part One is made up of three different levels, but with each one roughly taking an hour to get through, there was a decent amount of game to be found here. Things didn't start off that well. The first level set on a series of giant oil rigs out in the middle of the ocean looked impressive, yet being under a constant barrage of enemies for the entire level soon had me becoming bored. This felt like a continuation of the end of the base game, where the combat got so intense that there wasn't any room to breath.
Thankfully the second level calms things down slightly, given a map that had more of a puzzle element design to it. Taking place in a large swamp in Hell, this second level introduced a new enemy type in the form of ghosts who can possess enemies, and have to be killed while their spirit form is exposed.
The final level takes place in Urdak and while combat heavy, this had a lot of interesting lore that really delved deeply into the key players. This level featured a tough boss (even on easy), and another new enemy type; a flying one whose only moment of weakness being when they fire their energy beams at you.

I liked the introduction of new enemy types, and I also thought the the settings used all looked fantastic. Combat was never the highlight of the game for me, and there was far more than I would have liked. It was worth it for the story however, as it really changed up my thoughts of previous story beats. It might have been nice to have a new weapon or two, but I did appreciate the DLC acts as if you had gotten all the upgrades in the base game. With Doom: The Ancient Gods - Part One being quite tough I am a bit concerned about how even more difficult the second and final DLC pack will be. I guess I will soon find out! Also; this is available to purchase as a standalone game should you not want it as Doom Eternal DLC.

SCORE:

Doom Eternal (2020) - Horror Video Game Review (Playstation 5) 25 May 11:53 PM (last month)

In a tale as old as time, on my path to playing Doom: The Dark Ages (that is now out on Xbox Gamepass), I decided to play through the previous newer Doom games. Returning to Doom 2016 was a complete blast, that game just seems to get better with each subsequent playthrough. Doom Eternal is a different beast altogether. I brought this on day one, super excited to play. The game just didn't click with me, despite some amazing levels, I eventually crawled my way to the last third of the game and promptly gave up. Now, some five years later I have returned, deciding to play the game on easy mode so that I could finally finish this particular fight. In a film-less week, the two DLCs will be making up my other reviews.

This picks up fourteen years after the end of Doom, with no explanation whatsoever, Doom Slayer is now on a space station orbiting Earth (he was last seen fourteen years previously being teleported away to an unknown location), an Earth that is under supreme demonic assault due to the UAC (Union Aerospace Corporation) becoming completely corrupted by Hell. Dr. Samuel Hayden (a powerful robot with a human brain) had led a resistance, but had been defeated, so now the Earth is at the mercy of the legions of Hell, and the three Hell Priests leading the invasion. Your goal is to head to Earth and kill these three Hell Priests, with it hoped that will lead the invasion to collapse. Unfortunately, it appears that the demons have teamed up with an alien race named the Maykr, and the leader of this race; the Kahn Maykr is determined to stop Doom Slayer completing his task.

I have mixed feelings about this game. When it is firing on all cylinders there is nothing quite like it. There are a load of fantastic levels here. In the first game, the levels took place either on the Mars UAC facility or in Hell, with the former being much more fun to play through. This time around, the levels are either set on Earth (channelling the spirit of Doom II), or in various other planets. You have several set on the Sentinel (the alien race who helped Doom Slayer after the events of Doom 64) home world of Argent D'Nur for instance. These take place on sprawling maps which is basic Roman architecture turned up to eleven. These levels just were not as fun as the more logically designed Earth levels. The absolute highlight of Doom Eternal were the levels set on Earth, from an artic cultist base, to the epicentre of the demonic invasion in the middle of a huge city, these were all amazing. I also loved the detour that takes you briefly back to Mars, again, some lovely designed levels. In between most levels you return to a hub area set on the space station. I enjoyed this break in pace, even if there isn't really that much to do on the station, other than use energy cells hidden in levels to unlock power-ups.
A weird new addition to the series is the introduction of platforming sections. Doom Slayer is inexplicably now able to swing on poles and clamber up rock walls, throw in the return of a double jump, and the ability to dash forward twice in mid-air and you have a much more dynamic protagonist. These sections were fine, but they felt out of place (having now started playing Doom: The Dark Ages I can confirm there are mild platforming sections in this prequel).

Combat is the main focus of this sequel, and spices things up by having different enemies be weak to different weapon types. A lot of the enemies from Doom return, albeit with new looks and abilities, and a lot of new enemy types are introduced, many being ones that had appeared in Doom II. Mech spider creatures for instance fire missiles, but their launcher can be destroyed by rockets. The magma monster is suspectable to gatling gun fire, while the returning BFG can lay waste to multiple enemies at once. There are four key powers on a recharge meter that are essential to get the most out of the game. A flamethrower causes enemies to drop armour pieces, a chainsaw can be used on weaker enemies to create ammo pick-ups, a super punch can instantly kill weaker enemies or massively damage larger ones, while both ice grenades and normal grenades can be fired. All enemies can be stunned, which allows you to perform a gory execution kill for health. Being required to constantly change up your weapons depending on the enemy type, as well as having to constantly manage your ammo and armour might not appeal to everyone. That was actually me included, but by the end of the DLC missions I had started to finally appreciate this aspect.
Levels are full of secrets to collect, and grant points of various types that be used to upgrade weapons (each of which has two different special functions), or to upgrade your character, such as being able to see secrets on the maps, and increasing the damage of your grenades. The levels are mainly split into adventure sections and battle arenas. Unfortunately, the last third of the game is pure combat. The final four levels are all intensely combat heavy, as a result I got quite bored with this final section of the game. I understand one or maybe two levels like this to finish on (the manic final boss fight brought to mind a feeling of the similarly manic final boss in Doom II), but four in a row was a real test of endurance. The levels also get worse as they go on, the very final one gave an intense feeling of playing an Xbox 360 game, and not in a good way. The level design got more and more dull, almost as if the creators were running out of time to get the game finished.

Doom Eternal has some levels that match or even surpass some of those found in Doom. It also has its fair share of more bland ones, especially towards the end of the game. I loved the lore given here, I was delighted to discover Doom Slayer is meant to be the same character from the original games, and the drip-fed backstory as to what happened in the character's past was both awesome and fascinating. It was however, also weird how so little of what happened in-between games is explained, leading to lots of confusion. I had a tremendous amount of fun playing this, but I also had a less entertaining time than the first time around. Level design really suffers at times thanks to the unneeded inclusion of the gymnastic sections, and those parts really do not feel like Doom at all. Great story (for a mindless shooter at least), it looks and sounds fantastic, and the gameplay is solid. I wish that sometimes more care had been given to the level design, and that the final third had been improved upon.

SCORE:

ApoKalypse (2025) - Comedy Horror Film Review 23 May 10:29 AM (last month)

ApoKalypse is an animated comedy zombie film that was written, directed and produced by Lutz Geiger, who was also the animation supervisor. Described as an ultra-low budget 3-year passion project, this comedic horror doesn't always hit with its style of humour, but has a consistent charm that made me more than happy to stick around for the sensible seventy minute runtime.

Set in America, Apo (Chris Koehne) works at a burger takeaway in a local mall with best friend Jamal (Ravin Wong). One day, rat poison comes to be advertised as a cure for the ongoing Covid pandemic, and idiots in their droves come to believe this to be the case. Unfortunately, the rat poison not only doesn't cure Covid, it also happens to turn people into flesh hungry ghouls, seemingly only infecting Caucasians. With the mall swiftly overrun with these zombies, Jamal, Apo, his love interest Cho (Ao Mikazuri) and her family must work together to try and find a way to make it to the staff exit and escape. Meanwhile, the U.S army have cordoned off the complex, planning to use drastic measures to stop the outbreak.

The animation style is basic, but it has a unified feel to it that everything seems consistent in style. The 2D look reminded me a bit of South Park, a bit simpler maybe, but I thought the look of this was good. There was even a brief 3D section inserted towards the end for a few minutes, that part in particular looked pretty great. The characters all had a vaguely creepy unnatural look to them, but that worked for a comedy horror.
The humour was occasionally to my liking, but there were plenty of moments that didn't appeal, being a bit grotesque at times. There were a few jokes about bodily functions, drug use, and some gross sex joke moments that included full frontal zombie nudity. That type of stuff I wasn't on board for, but there were also amusing moments. None of this was laugh out loud, but again, the style was consistent and parts made me inwardly chuckle.

The protagonists were fine, they served the purpose as people to root for, even if there wasn't much character development for them. The zombies meanwhile were plentiful, but they were often not that much of a threat. I did enjoy the large numbers of these and the often gross fight scenes that sees survivors and braindead alike being ripped apart. As for the plot, it was very simple, but what would you really expect from a zombie movie? Despite being an animation, this had a lot of the story beats you would expect from a film of this genre, a gradual ramping up of danger, and an over the top finale. The social commentary aspect was interesting enough, taking a look at America's treatment of minorities though the lens of the 'Karen' stereotype. It made a change to have the heroes all be non-white characters, I did feel having this based around the Covid pandemic felt a little outdated, though obviously, at the time this was first thought of, that was still relevant.

I enjoyed ApoKalypse, but it didn't always appeal. I thought some of the character design to be crude, especially when it came to the female characters, and I would have been happy without any nudity. That was all done to personal preferences. For something described as ultra-low budget, this was far more watchable than expected, the David Firth/South Park feel was often neat, and the basic animation worked surprisingly well with zombies as the main focus.

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The Rotting Zombie's News Anthology for Thursday 22nd May 2025 22 May 10:15 AM (last month)

This week has been a very lazy one in the Rotting Zombie HQ as I have a blissful week off of work. My main interests outside of doing daily blog posts is sleeping and playing video games, so quite idyllic. Onwards to the news.

Cryptid horror film Daisy has came to Amazon Prime. Based on encounters with Tora Bora vampire bats, this follows a former soldier, now small town mechanic, who has a deadly secret living in his garage. Daisy stars Michael Wainwright, Sparkle Soojian, Wade Pierson, Manuel Ramirez and Matt Macedo.

Heading to Sweden next is Feed, which is based on the true story of the first Swedish woman to be killed for witchcraft. The plot follows a young medical student and her social media influencer boyfriend. They end up trapped on a small island on a lake where allegedly the ghost of an ancient Swedish witch was said to inhabit. With the influencer boyfriend having been hired to sell this idea, they soon come to discover that there might actually be some truth to the legend of a witch ghost. The Swedish language horror Feed became available to rent or own on North American digital HD internet, cable, and satellite platforms as well as DVD on May 9th.

Finally for today, first look stills have been released for Howard J. Ford's Bone Keeper. The plot sees six friends enter a remote cave system to investigate the local legend of the 'Bone Keeper'. They are unluckily put into danger when they indeed find this creature, something that may have lived in the cave system for thousands of years. This stars John Rhys-Davies (Gimli in The Lord of the Rings trilogy), alongside Sarah Alexandra Marks, Louis James, Tiffany Hannam-Daniels, Sophia Eleni, Danny Rahim, Tyler Winchcombe and Sarah T. Cohen.

Dachra (2018) - Horror Film Review 21 May 2:16 PM (last month)

The press release for horror film Dachra states this is Tunisia's first ever horror film. Whether it is the case or not, this witch based horror (alleged to be based on true events), written and directed by Abdelhamid Bouchnak is certainly the first Tunisian horror to be reviewed on this blog. The film won the Scariest Film Award at The Overlook Film Festival.
Having now watched this I would say there are some uninspired moments, but this can't be accused of not having atmosphere in spades.

Yassmine (Yassmine Dimassi), Walid (Aziz Jebali), and Bilel (Bilet Slatnia) are three journalism students whose college professor has tasked their class with creating a documentary about a local topic of interest. Laid back Walid tells his friends about the story of a strange woman who was discovered in the middle of nowhere with her throat slashed some twenty five years ago. She was subsequently taken to a local mental institute where she has since gotten a reputation for being a witch. The trio decide this would be the perfect story to cover for their project, and with Walid being friends with one of the nurses at the institute, heads there to see the patient. This eventually leads to them discovering the location where the woman had been originally discovered, and decide to head there to do some filming. They stumble across a strange village deep in woodland that wasn't marked on any maps. Mostly populated by cowled silent woman, the jovial sole male village leader convinces the three to stay, due to time getting late in the day. The longer they are there, the more the three begin to suspect something very wrong is going on, Yassmine in particular is shocked to discover that life long nightmares she has had of a woman in black appear to be somehow linked to this bizarre cultish place.

The story for this film felt very found footage like, I am glad it didn't go in that direction, instead being traditionally filmed, as this allows all sorts of camera shots to be used. The story was interesting, I liked how it seemed Yassmine was caught up in events before the film had even really started. Later reveals I had expected, but I was still pleased to see them occur, it gave the whole movie a bit more of a The Wicker Man vibe, with me not shaking the feeling that the three had been lured to the village for some nefarious reason. I thought the protagonists were a decent group of characters. They are forever bickering with each other, but this came across as natural. There were some moments that became amusing due to the friendly insults the characters share. This is in Arabic, but the subtitles were forever easy to read and translated well. Other characters all served purposes well, but I did feel The Shining style subplot of Yassmine's uncle spending much of the film making his own way to the village was a bit dull.

The horror here mainly comes from the atmosphere, the village felt like an unsettling place, with the creepy non-speaking villagers like something out of Resident Evil 4. There were some tries at creating horror that were very generic, a few lame early jump scares. The atmosphere of the village was very well done, a grimy poor looking place where strange lumps of meat are hung up everywhere. From the prologue in which a young boy is sacrificed, it is clear that something obviously evil is going on at the place. I liked the drip feed of information the protagonists get, the best part being when Yassmine comes into possession of a journal. It did the gradual unpeeling of the story satisfying. With all that this does get right, it is a bit of a slow burn, it doesn't get dull over the course of the one hour fifty five minute runtime but I would say that not too much really happens over the course of the movie. I was also unsure of the very abrupt ending, not completely convinced that worked for me.

Dachra was bleak and cruel, both things that are most welcome in a horror. There were occasional moments where nothing too interesting was going on, though I did think the village setting was very effective. With normal feeling protagonists, the horror sparsely explained, and a great setting, this was a good film, only let down by a few cliche horror moments. Dachra came to the streaming subscription platform ARROW on May 16th.

SCORE:

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