There is an inherent problem with remakes and reboots of classic 1980s horror franchises, in that… they tend to not live up to the hype and their expectations, and the poor souls stepping into the shoes of icons are often derided for their performances and well, when one takes a moment to really ponder upon the why of all this… it quickly becomes clear as to why these remakes and reboots fall to the wayside with fans. The first issue is they often tend to be an origin story, and these tales are so iconic, we already know how Freddy became Freddy and how Jason became Jason and speaking of those iconic characters… the expectations surrounding the actor that takes up that mantle, are quite complicated and counterproductive in nature. 
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Because clearly, the message they receive is to reinvent the character but make sure they feel familiar, which led to ill-fitted quips from Jackie Earle Haley’s interpretation of Freddy Krueger, and a restrained performance from Derek Mears since his Jason Voorhees often replicated Kane Hodder-esque moments, giving rise to that aforementioned criticism, because audiences wanted more. But worst of all, the plots bring nothing new to the table, they just stick with comfortable territory and do their best to offer fresh visuals instead of something the audience can really dig into and enjoy. But alas, after years of enduring these problems, it would seem that Hulu has figured out how to break free of that mold and provide fans with an exciting and enticing, and horrifying remake/reboot of a horror classic, as evidenced by the brand-new iteration of Hellraiser, that the network released last Friday.

For this is a story that gives us a new and juicy plot to work with. For nothing about this story resembles or re-treads over what the original 1987 film did in the slightest plot wise. This is a story that features a new and exciting mythos for Pinhead and the Cenobites, and dynamic characters that go on their own respective journeys and that alone sucks you in. Because at long last, you’re surprised and in unfamiliar territory and you are simply compelled to continue the journey post-haste. But what’s truly amazing, is that the plot, one that revolves around a desperate quest from a broken woman to use the box to save her brother’s life from an eternity of damnation, isn’t the only reason that this particular film breaks the mold and stands out from other horror remakes. 

For the casting and recreation of Pinhead, is another bold reason that this movie is saved from past mistakes. Because while the look of Pinhead and the Cenobites remains iconic, with some lovely imaginative twists to update them and enhance their already terrifying nature, Pinhead’s machinations and personality are vastly different. Which means that at long last, the actor was asked to just bring their own interpretation to the role and run with it and not offer up fan service and that pays off in spades. For Jamie Clayton’s Pinhead is a refreshing and downright terrifying monster, thanks to a special coldness and cruelty that Jamie brings to the role, giving us a new Pinhead for a new era, one that holds a flame to Doug Bradley’s character while taking the character in a bold and modern direction. 
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Not to mention… this is a film that also digs deep into some fascinating concepts, that the franchise has never explored before. For this is a story that gets quite intimate with its commentary on the power of addiction and how it is a destructive force in a person’s life. While also touching upon how we beat our vices and how we cope with the scorched earth that addiction leaves in its wake. The latter of which is left opened ended, as it should be… since there are no easy answers on such matters since the pain and guilt addiction inflicts is quite deep and powerful. Which is a move that stays true to the franchise's roots as well, since examinations on the human condition and our vices and our fears are staples of this iconic and storied saga.

However, while all of these elements make for a refreshing and intelligent new chapter in the franchise, make no mistake about it… this is also a motion picture that goes hard from a horror perspective as well. For the Cenobites and their world, and their actions, are simply terrifying through and through, to the point where nausea will accompany the gorier scenes in this story and where the tension will leave one’s heart racing. Which in the end, makes this a masterpiece remake. One that finally gets everything right and opens up all kinds of new possibilities for this franchise. Where it can now explore darker corners of the human condition with a guide through Hell that is as scary as they come and hopefully, this film sets the blueprint for others as to how to make a successful remake of a horror classic. So, that at long last, other classic monsters from that era… can finally receive a fresh chance at life and an opportunity to grow and produce brand-new and long lasting nightmares.    

Caution: This article contains spoilers for Episode Two of ‘Interview with the Vampire’. To revisit the previous episode, click here.
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Abusive relationships are often portrayed in violence. One partner hitting the other, beating them to a pulp, and so on. Especially in media. Often, the psychological aspects are left out entirely, focusing only on the physical aspects of the act. Seeing someone back handed ensures the audience understands that this relationship is abusive. How else are these types of relationships to be illustrated? Truthfully, abusive relationships don’t always contain physical violence. Mental, emotional, psychological, all of these types of abuse exist, and they are overlooked in media; thrown to the side for the more shocking displays of brutality. Yet, being physically hit isn’t always the case. Louis is very desperate to point out that he was a willing participant with Lestat.

Victims of abuse will often try to cover the abuse or justify it in many ways. It isn’t always the abuser’s fault, after all, they will take the blame. When in reality, they truly were just victims, unable to stop what was happening to them. The coping that comes along with being an abuse survivor leans towards the self-deprecating. Untreated trauma also produces similar attributes. Louis is no different. He takes a lot of the blame, although admits that Lestat had a hand in a lot of his behaviors.
He isn’t a killer, in the sense that he doesn’t enjoy the act of murder like Lestat does. However, he had no problem in killing people until 2000, when he stopped. It’s admirable, in a sense, to stop a bad behavior such as that. Being a Vampire seems complicated, filled with urges that are hard to control. Of which Louis claims to be a master of, now. Louis is just a product of his abuser.

Lestat hunted Louis, chose him, manipulated him, and we the audience see it all. How Lestat carefully gives just enough praise, just enough vulnerability, and knows all the right times to love bomb Louis; disarming him and keeping him complacent with the life Lestat is making them both live. Lestat will give Louis everything, so long as he willingly complies with what Lestat wants. He knows how to withhold information about this new life as a Vampire, knows when to inform Louis of certain traits and abilities. It’s control. It’s all about control. Lestat uses the guise of being lonely, desperate for companionship, specifically with Louis, to inform him that no one else could possibly be what he needs.

​The irony is, Louis is also desperate for companionship, and most importantly, control. Louis is a Black man in Louisiana. Trying to contend with White Men in business and it only gets him so far. Being a Vampire and Lestat’s partner open new doors for him. Gives him that power he craves. Gives him control over his own life. Except that it’s not control over his own life. Lestat is still calling all the shots, still driving this train. Lestat isolates Louis from his family in a different way now. Louis cannot control himself, he’s a baby Vampire, a Fledgling, and yet he clings to the shreds of his humanity. The ultimate test comes when he’s left alone with his newest nephew.

Daniel is left for several minutes, obsessively asking if Louis ate the baby. All while they’re having dinner. Louis didn’t, as it turns out, and we’re led to believe that this was the last time he ever saw his family. While he claims to not kill people anymore, over the course of their dinner, he drinks a bag of blood in a wine glass, as a typical Vampire Trope. He then kills and eats an animal, draining it of its blood before Daniel’s eyes. And then, feeds from a living person. He doesn’t kill the guy, however, because he doesn’t do that anymore. While his snack does pass out as he leaves, he’s at least alive.

Louis is a victim. That doesn’t mean the victim can’t turn into an abuser themselves. He’s clearly toying with Daniel. Their history playing a large part in this meeting now. Either way, Louis wants his story told and told right. It’s interesting to see how Louis takes accountability for his actions in specific ways. Whenever he talks of his relationship and actions with Lestat, he’s quick to justify Lestat’s behavior, quick to take the blame by saying how he was willing and responsible for his own choices. Abuse isn’t just physical. Even away from Lestat, Louis defends him, still. Caught in the web. Stuck in his role. Unable to see past the guilted cage Lestat has put him in.

To Louis, Lestat was a first love. To Lestat, Louis is a possession. It’s a problem that isn’t going to go away.

Caution: This article contains spoilers for Episode 1118 of ‘The Walking Dead’. To revisit the previous episode, click here.
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When we last settled in to discuss the final season of the iconic AMC series, The Walking Dead, the situation was grim. After all, Lance Hornsby had several of our heroes perfectly cornered in a sewer, to the point where even having a knife held to his double-crossing neck, meant nothing for the safety of Daryl Dixon and his friends/family. Not to mention… Carol and Negan were forced to enact a daring plan to try and curry favor with Governor Pamela Milton in the hopes of saving the lives of their friends and families. But alas, the episode ended without informing us as to whether or not Pamela understood the cost of having her son returned to her by two of the show’s most cunning characters. But thankfully, this week’s episode wasted little time in informing us as to whether or not she understood. 
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For ‘A New Deal’ quickly opened with Pamela and Mercer, and Carol and Negan, arriving in the midst of the trouble. Wherein Pamela offered the group a simple and quick and effective deal. Hornsby for their lives and their freedom for the moment. A deal that was difficult for Daryl to swallow since he had the chance to end this and Hornsby for good. But his better angels prevailed and just like that… Lance was thrown in a jail cell and the remainder of the deal was hammered out. Where in part, the good people of Alexandria and Hilltop would be exiled from the Commonwealth but given quite the gift. In that, their homes would be restored and supplied, giving them a fighting chance at survival once again after going through utter hell.

Which was a deal that most everyone was quick to accept since it beat any negative alternative, but not everyone was certain this was the way to go. For Ezekiel found purpose and direction in this place, and was able to make a difference once again, even as a zookeeper, and even Negan found himself questioning life on the road away from the creature comforts of the old world, and its medical marvels since he was going to be a father, and oddly enough Judith was struggling with this as well. In part because of the fact that she was saying goodbye to the roots and friends she laid down here, but also because her keen intellect and the purity of childhood, allowed for her to put the pieces together about the Commonwealth and its true struggles. In that, these people were in trouble and vulnerable and under the thumb of a terrible leader, and that the heroes should stay and fight and help. 

A request that Daryl immediately shot down of course since this was a chance to return home and enjoy peace for the first time in years. But even then, Judith genuinely wondered what the point of fighting so hard for peace was if others didn’t benefit from it as well. A truth that caught Daryl off guard and left him pondering upon her words even though such a fight for freedom seemed impossible with their depleted numbers, and well… what truly made this sequence of significance for the show, is that it hammered home the long-standing theme of the past couple of seasons. Specifically, whether or not humanity is worth saving and of course… whether or not we can embrace those better angels and be the beacon of hope we’ve always wanted to be. Which are of course, questions that weren’t answered here. 

But ironically… Judith wasn’t the only one harboring major concerns about the Commonwealth and its flawed leadership. Because the other part of this deal was that Sebastian Milton was to be free and clear in his actions, and Hornsby would take the blame for killing all those innocent souls and well, Max simply was not good with that in the slightest. Because it didn’t allow for true justice to be served, and upon overhearing that the expectation was for Sebastian to take over the Commonwealth one day… Max was terrified and motivated to do something to improve the future of this community with Eugene’s help and that led to some epic surprises in this particular tale. Such as Max and Eugene taking the time to visit Lance in prison to attempt to enlist his help on getting dirt on the Milton’s, to turn the community against them.
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An act of course he was unwilling to participate in, which prompted Max to try something bold to really expose Sebastian and bring an end to the Milton nightmare. For she was able to record him when he spoke honestly about the Commonwealth, whilst practicing his apology speech for the upcoming Founders’ Day Celebration and well… with Eugene’s help once again, Max had that honest tape loaded into the hopper so that everyone would finally learn what kind of weasel he is and perhaps finally turn upon the Milton’s and bring real change to this place. A plan that actually started to work, since the moment the tape was played, the crowd booed dear Sebastian and mocked him mercilessly, which in turn should have brought forth his exit in shame and his mother’s as well… but alas, Lance Hornsby struck from beyond.

For part of the reason, he wasn’t interested in helping, was because he had his own plans to sow doubt and instability. For his lackeys took the time to slaughter some of the townspeople’s custodial staff, so that they would of course… wake from death and wreak havoc upon the Commonwealth. Why… wasn’t made entirely clear here, but that will likely be revealed at another time. Because the chaos portion of this plan went off without a hitch and the dead were suddenly everywhere and eager to feed and in the midst of everyone trying to escape the living dead, a tussle between Max and Sebastian ended poorly for Sebastian. Because his attempts to have Max eaten by a walker, ended with his own flesh being consumed by the dead. A moment that while satisfying, since that little jackass finally got what he deserved, will bring about so much pain and suffering.

After all, Governor Milton is already this side of unhinged and with her legacy now in tatters, she will undoubtedly let loose upon the people of the Commonwealth to retaliate, and it will be interesting to see if that was part of the plan for Lance. But alas, while we wait to learn more about said plan, we can bask in the wonder of one epic tale. Simply because this was once again, vintage TWD. Complete with more stunning gore and a tribute shot to Dawn of the Dead, alongside more quality social commentary on who we are as a species, and you cannot ask for much more than that from our favorite show and truly, this is another tale we will savor for as long as possible. Since there are now only six episodes left, in this iconic and groundbreaking series. Until next time.

​When it comes to remakes and reboots, there really are two key opinions out there when it comes to them and what they contribute to the motion picture industry. There is of course the camp that believes they’re no big deal and they enrich the business by allowing for people to discover a fresh new re-telling of age old ideas and on the opposite side of that coin, are the people who firmly believe they are the scourge of creativity and should be stopped before the industry makes them a staple over anything original.
 
Granted, both sides have valid points when it comes to their respective arguments because remakes are not without their flaws, the biggest one in my mind being their inability to capture the power and the wonder of the original motion picture. But regardless of where you stand, there are in a fact a few remakes out there that truly hold a flame to the movie that they are based upon and those should be celebrated as often as possible to serve as a reminder that with the proper care, great remakes can exist and one such film that just so happens to meet those qualifications is the 1990 remake of George A. Romero’s zombie masterpiece, Night of the Living Dead.

Now, the storyline to this remake is close to the original. The dead have returned to life and are attacking the living and seven strangers are surrounded in a farmhouse, desperate for survival. And as an added bonus, the usual names associated with Romero's vision of the zombiepocalpyse can be found here as well, but without their usual titles. George Romero only wrote the screenplay this time around, making the wise decision to hand the title of director to horror effects legend Tom Savini, and what an incredible job Mister Savini did with this film, bringing forth a fast-paced remake, that manages to bring new scares to life on screen all while staying true to the core components of the original.   

Horror veteran Tony Todd does an outstanding job taking over the iconic role of Ben, but the show is stolen by Patricia Tallman as Barbara with her unique portrayal of the character. In fact, that is what makes this remake so fascinating. There was the easy way out in making this motion picture by simply retelling the tale shot for shot in beautiful technicolor. But Romero's script updates Night to reflect the times. Gone is catatonic Barbara, waiting for a man in shining armor to save her and make all the decisions, she is now an independent woman who is suffering from the loss of her brother but willing to do what is necessary to survive. Also removed are the explosive overtones of the 1960's that we found in the first one, which changes the film drastically, bringing about a raw element of fear and confusion that gives the picture its own unique feel.

Does this film surpass the original? Absolutely not. It works as a companion piece to the 1968 version but adds its own credence to the series with its slick special effects, beautiful visuals and oddly enough, bleaker feel. It is almost as if Romero and Savini understood where horror films were headed. There would no longer be a sense of hope at the end of these types of movies, that optimistic notion would be replaced by the sense of terror that the worst-case scenario had come at last, and it was here to stay, and really, this one is worth a view if by chance you haven’t seen it simply because it not only grabs your attention like the original, but it pulls you along for a powerful and terrifying ride, one that stays with you long after it’s come to an end.

It is definitely safe to say that the V/H/S franchise, is one of the most important and daring franchises around right now. It’s important, because it helped to bring anthology horror back into the spotlight in a fun and nostalgic manner. As for the daring portion of it, well that relates to the stories these movies tell. Because they tend to push boundaries and expectations, and they truly dive into some dark and disturbing subject matter. The kind that genuinely unsettles an audience and leaves them talking for days about the stunning moment they experienced.

But the best news of all, is that this daring franchise is showing no signs of slowing down. For not only is a new chapter in the saga, V/H/S/99, premiering on Shudder on October 20, but the next chapter beyond that one… was given the greenlight earlier today. For at New York Comic Con, Shudder announced that the sixth installment in the series, V/H/S/85, is now in the works and well… since that news likely sent you over the moon… to the point where you’re dying to know more, let’s not waste any time and provide you with all the details on this epic announcement, courtesy of Shudder.   
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‘Shudder, AMC Networks’ premium streaming service for horror, thriller and the supernatural, announced today the continuation of Studio71’s hit found footage anthology franchise, V/H/S, with an all-new installment, V/H/S/85.  The Shudder Original Film will release in North America, the United Kingdom, Ireland, Australia and New Zealand in 2023 and will feature renown genre filmmakers David Bruckner (Hellraiser, The Night House), Scott Derrickson (The Black Phone, Sinister), Gigi Saul Guerrero (Bingo Hell, Culture Shock), Natasha Kermani(Lucky) and Mike P. Nelson (Wrong Turn).
 
“Since its inception, the V/H/S franchise has been a showcase for both established and emerging horror filmmakers to terrify audiences with innovative takes on the found footage genre. Following the success of last year’s hit V/H/S/94 and this year’s upcoming V/H/S/99, we are totally stoked to take Shudder members back to 1985 with a wicked new collection of scares from some of the most radical horror directors working today,” said Shudder General Manager Craig Engler.
 
“The V/H/S series is a continued love letter to found footage nastiness and the mad variety of anthology horror,” said director and producer Bruckner. “Having helmed a segment of the OG film, I’m beyond excited to be back behind the camera in V/H/S/85, alongside some of my very favorite voices in the genre.”
 
The franchise’s first Shudder and Studio71 collaboration, V/H/S/94, debuted to rave reviews from film critics, with The New York Times calling the film “a grisly, gory gem,” and a 90% certified fresh rating on Rotten Tomatoes. V/H/S/94 was the biggest movie premiere in Shudder history, setting a record for the most viewers during its opening weekend, and it continues to be a top performing title nearly a year later.
 
In the upcoming V/H/S/99, which debuted at the 2022 Toronto International Film Festival and premieres on Shudder onThursday, October 20, a thirsty teenager's home video leads to a series of horrifying revelations. The film features five new stories from filmmakers Maggie Levin (Into The Dark: My Valentine), Johannes Roberts (47 Meters Down, Resident Evil: Welcome To Raccoon City), Flying Lotus (Kuso), Tyler MacIntyre (Tragedy Girls) and Joseph & Vanessa Winter(Deadstream). V/H/S/99 harkens back to the final punk rock analog days of VHS, while taking one giant leap forward into the hellish new millennium.
 
Producers of V/H/S/85 include Josh Goldbloom for Cinepocalypse, Brad Miska for Bloody Disgusting, Bruckner (V/H/S, The Night House, Hellraiser), filmmaking collectiveRadio Silence (Chad Villella, Matt Bettinelli-Olpin, & Tyler Gillett; Ready or Not, Scream), and James Harris (47 Meters Down). V/H/S/85 is executive produced by Michael Schreiber & Adam Boorstin for Studio71.
 
The deal was negotiated by Emily Gotto and Nicholas Lazo on behalf of Shudder and Schreiber and Federico J. Blanco on behalf of Studio71.
 
ABOUT SHUDDER
AMC Networks’ Shudder is a premium streaming video service, super-serving members with the best selection in genre entertainment, covering horror, thrillers and the supernatural. Shudder’s expanding library of film, TV series, and originals is available on most streaming devices in the US, Canada, the UK, Ireland, Germany, Australia and New Zealand. For a 7-day, risk-free trial, visit www.shudder.com.
 
ABOUT STUDIO71
Studio71 is a global media company that produces and distributes premium, brand-safe content across all video platforms. The S71 content division produces thousands of original videos for Studio71′s owned and operated channels, podcasts, and apps, and publishes over 1,800 partnered creator channels that generate over 13 billion monthly views across YouTube, Connected TVs, and social media platforms. The S71 sales division connects advertisers with Studio71′s top digital creators for targeted media campaigns and custom branded content. Studio71 is headquartered in Los Angeles with offices in Berlin, New York, Toronto, and London.’

Caution: This article contains spoilers for Episode Two of ‘Queer for Fear: The History of Queer Horror’. To revisit the series premiere, click here.

When we last settled in to discuss the powerful and poignant Shudder documentary series, Queer for Fear: The History of Queer Horror, we talked at length about how the show… did a phenomenal job of educating us upon a fact that so many of us did not know. In that, horror’s true origins were supremely queer in nature, and were filled with powerful subtext regarding the queer experience at the time that horror was born. Which made for a powerful and engaging episode, one that truly educated us on horror’s real power as a genre, since that episode made it clear that this is indeed the most inclusive genre out there, since its creators expressed so much through a genre that is known for teaching us through terror. But while that alone could have carried this documentary for weeks on end, there just so happens to be so much more to explore regarding horror and its ties to the experiences of LGBTQIA+ individuals.

Simply because, the trailblazing nature in which Mary Shelley and others embedded their experiences into a story, was picked up by others and used to help create some of the most iconic horror films ever made. Ones full of meaning and subtext on what those before injected into the genre. For instance, Frankenstein, ironically… is a movie filled to the brim with queer subtext, in addition to the groundbreaking elements it introduced period. Since it served as the opportunity for James Whale, who was homosexual, to really inject some truth about what it meant to be gay in that era, and learning about that here, adds incredible gravity to the power and poignance of that film, and Whale’s work as a whole since he added that subtext to all of his films. But that truly does make Frankenstein a genuinely trailblazing film, one that now has so much more to offer than its central themes of man versus technology versus ego.

But of course, James wasn’t the only director to really put LGBTQIA+ individuals on display. For Alfred Hitchcock, is a director who made great use of representation in his work. In fact, his stories were filled to the brim with queer subtext. Since they oft featured men who were clearly interested in one another in a manner that went beyond friendly curiosity. Giving rise to stories that more or less spoke to how men of that era would absolutely have to be in closet to have any chance at agency and perhaps his boldest exploration regarding men and their secretive relationships at a time when America would shun any man out of the closet, was Rope. Since that is a story that clearly, especially after the analysis present here, speaks volumes to the efforts that took place in the 50s and 60s to keep such relationships a secret, with a BDSM and power dynamic twist injected in the mix as well, since Hitchcock always like to keep things a little interesting.

But while it was indeed fascinating to learn about Hitchcock’s role in creating iconic moments in queer horror through his own curiosities, oddly enough… Hitchcock’s work would give rise to another icon of queer horror. After all, Psycho is a story that at first glance, appears to be nothing more than a movie about a broken man, in the vein of Ed Gein, who obviously needed severe mental health care. But in reality, it is now obvious via this documentary that Anthony Perkins’ portrayal of Norman Bates, had something far deeper to it. In that, it spoke to Anthony’s own struggles with his sexual identity and this film and so many others in the Psycho franchise, allowed for Anthony to work out his feelings on his sexuality and become an icon in the process. Simply because his struggles on screen, would help others by telling a powerful tale regarding how difficult it was to really be oneself back in the day when queer culture was viewed in an even more negative light than it is now.

All of which makes this episode, another powerful chapter in this journey. Simply because it truly put on display how the ravages of the past, made being an LGBTQIA+ individual, pure hell, where everything about the true and pure essence of a queer person, had to be kept a secret and had to be limited to gazes and innuendo in public out of fear. But thankfully, these films were able to provide anyone suffering from those frustrations with catharsis and fulfillment. For they were now seen and did not feel alone, making this era of horror history, quite pertinent and important since these stories were but one of the handful of ways to express such feelings and well, now that we have reached the end of this incredible segment of horror history, it will be fascinating to learn how the queer experience and horror worked together in eras that were starting to rightfully acknowledge the existence of LGBTQIA+ individuals and deconstruct the stereotypes that so many incorrectly embraced. Until next time.

Caution: This article contains spoilers for the motion picture, ‘Deadstream’.
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It is definitely safe to say, that becoming a celebrity in our modern world, is a process plagued with all of kinds of problems. Simply because, it is so easy to accomplish and so intoxicating when it happens, that those who bask in the glory of finally being in the limelight… sometimes struggle with that and all the negativity that comes with it. Because not everyone is going to be happy with that person’s time in the spotlight, and will voice that opinion accordingly, nor is it easy to adjust to the demands of fame and how in a digital world, one is expected to be always on their game and accessible. But what’s truly unfortunate about this newfound process for fame… is the ugly that it has unleashed upon the world. Because it pushes people to be hyper competitive for likes and shares and subscriptions. Which in turn leads to sometimes awful content that is off-putting or offensive or harmful, all in the name of that almighty clout.
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Not to mention, it floods the market with advertisements and plugs since everyone wants to take full advantage of that fame. But worst of all, it brings out the worst in people and it sometimes the exposes the garbage they are, and that… is more problematic for us since we fed them and nurtured them without giving it a thought. Which has brought forth many a disgraced vlogger or influencer, and it leaves one to wonder… it is then possible for the ones that stumbled to redeem themselves? Especially since the entire world saw their mistake and the world is of course, a woefully unforgiving place. Well as it turns out, there is a brand-new movie on Shudder that ponders upon the answer to that question, in a very dynamic manner. For Deadstream is a story that plunges us into the middle of that push for redemption for a fallen influencer.

For Shawn Ruddy, the host of the wildly popular web series, Wrath of Shawn, has fallen upon tough times when we meet him, here. For he screwed up bad a few months back, to the point where there was a full-on trial for his filmed shenanigans and that led to a loss of sponsors and everything, he worked so hard to build. But Shawn isn’t one to take the L. He wants back in on the influencer game and is willing to try something new to show the world he’s sorry and serious about creating amazing content that won’t bring harm to others. Which is why he’s agreed to spend the night is a severely haunted house, which should offer up some fine views and redemption at last. But there’s just one problem. In that, the house he has selected is occupied by a supremely powerful spirit and it will stop at nothing to claim Shawn’s soul.

Which is a plot that not only answers the big question at hand, but also features some powerful commentary on the influencer and vlogger world. Specifically, regarding how vapid and over the top it has become. Since Shawn and his push to sell merch and of course… use his platform to apologize and then pretend as though nothing happened… feels way too familiar and worn out here. Not because that is somehow an unoriginal concept for this movie, because this isn’t a topic you find in film often. No instead, it feels worn, because we’ve heard this story too many times regarding too many influencers. Which hammers home the toxic nature of this world before letting us know that yes, redemption is indeed possible for these folks. Provided of course… they understand that there is a line between entertainment and reality, and they apply that to their content and its quality and know that there will be consequences for their actions, even their honesty… since that is the nature of fame.
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However, while all of those elements do indeed make for some fine commentary on a growing problem in our world, that doesn’t really seem to be a story that leans super deep into horror, at first glance. But make no mistake about it, this is a horror film through and through and once the ghost begins to really make her presence known… this movie gets wild. In fact, the scares here are simply top notch and totally catch you off guard. Not to mention, the special effects in this movie are just off the wall incredible, since they feature ghosts that genuinely leave you unsettled and uncomfortable with whatever they’ve become on the other side. Plus, the splatter and the gore, are just downright incredible and are used in a logical and organic manner, which also adds to the uncomfortable nature of this tale.
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But what truly caught this writer off guard, was the amount of humor in this story. Just because you don’t expect it, but it works and it adds to the story since it helps to break up some of the incredible tension here, and really in the end, this is just a dynamic and wonderful horror film. One that features everything you could ever ask for from a horror film. After all, you’ve got scares galore, some delightful and timely, and downright compelling commentary on our world. Plus, a little guts and gore and monsters that are the stuff of nightmares. But the best news of all, is that you can pour over this scary story over and over again, and properly absorb all the nuances and little touches this film features, courtesy of the fact that is currently streaming on Shudder, and we certainly hope you give it a look. Because this one is just a pure delight.   

Caution: This article contains spoilers for Episode Five of ‘The 101 Scariest Horror Movie Moments of All Time’. To revisit the previous episode, click here.
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Over the course of the past few weeks, we’ve talked at length about how exactly horror movie moments outright manage to terrify us. For the Shudder series The 101 Scariest Horror Movie Moments of All Time has dug deep into such matters, courtesy of its incredible panelists, composed of horror experts and people that work within the genre. And they have indeed provided us with stunning insight as to how a camera angle or the right music or the right cut, can change the course of a moment and make it iconic. Plus, they’ve also pointed out how originality and the unique nature of a particularly scary moment can also create something iconic and memorable, and it’s lovely to explore fresh takes on what makes a moment scary, and the show is showing no signs of slowing down regarding this style of analysis.
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For it is clearly going to showcase every angle of how and why these moments made the list and how and why they frighten us, and for this week’s entry, the show focused heavily on how some of the most iconic moments in horror exist, simply because they inject a sense of realism into the nightmare, we’re watching play out. Which at first glance is something that seems impossible. After all, we are watching movies here about dead people coming back to life and eating others or sucking on their blood. Or we’re dealing with demons and the devil for that matter. Or it is just something outlandish such as say… a monstrous child murderer that haunts dreams to kill teenagers because he can. The kind of stuff that is pure imagination. But there is realism to be found in horror, and it honestly pops up often… as evidenced by what moments ‘#49 – #37’ presented us with. 

Take for instance, what this episode had to say about Rosemary’s Baby. For that is indeed a story that features some outlandish stuff. Such as an innocent woman being pushed into the world of the devil and the antichrist through a secret order. But Rosemary’s motherhood fears and the fact that her husband is toxic and crosses a lot of lines… adds some realism into the mix, since mothers do indeed worry about their babies and their health, and we’ve heard far too many stories about husbands like Rosemary’s. Not to mention, what this show had to say about The Silence of the Lambs stays in line with the theme of this episode. Since Buffalo Bill really did embody the fearless psychopaths of the world. Those forces of nature that cannot and will not care about others and simply crave chaos and pain and of course, that ending and how it played out… felt a little too real at times and scared us deeply. 

But of course, you don’t have to take this writer’s word for it. Simply because on several occasions, we heard from the experts regarding how uncomfortable they were with how these moments played out and that adds real gravity to the realism present in these moments, and even the folks that work in horror spoke to how these moments sent shivers down their spines and that’s a big deal. And truly, the testimony that hammered the point home, came from Tom Savini. For the man who has produced so many nightmares for so many of us… had to turn off Zodiac because of the stabbing scene. Simply because it was just… too freakin’ real, and if that doesn’t make it clear how impactful realism can be in horror, nothing will.

If anything, all of these discussions and the incredible moments selected here, brought forth one magnificent episode. In fact, it is safe to call this one the finest to date of this limited series. Simply because it had so much offer. For there was impactful commentary and observations, juicy moments that evoked a sense of nostalgia and of course… some reminders of what those moments did to us the first time we saw them. Plus, it is incredible how each week is finding a theme and expressing it in a brilliant and palatable manner and once again, this episode leaves us starving for more. So, we can see what thoughtful themes and even bigger moments await us as we inch toward the top twenty-five. Until next time.

​Sometimes doing the right thing can lead to more problems than solutions. While nobody wants to see someone being wronged in any way, when they step in, they can be facing something that they were not prepared for. It is a conscious decision that a person has to make to either flat out avoid these situations or try and play the hero for someone in need. Just make sure you don’t always shy away from the challenge, because when you do and see that you could have been the person to save a life, you will regret it for the rest of yours.
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Out on the hunting reserve, Terry Drake and his crew are looking to bag a couple of bears while there is no one else around. Being able to get a couple of bear paws into the truck, they hear another illegal trap going off, but it has something much bigger inside. Shooting the creature with a tranq dart, Terry cannot believe what he has found, a Sasquatch. Loading it into the back of his truck, the monster wakes up and kills a member of his crew, but that is next to nothing as the payday of a lifetime is coming Terry’s way. Getting a call into his collector friend who will play big bucks for the find, Terry will have a change of plans as he is picked up by the local rangers for poaching off season.

Returning to his old precinct in the city with a prisoner in hand, Ryan Walker is shocked to see that it has become pretty much a ghost town. With just a skeleton crew working there, he is still able to get Terry booked into a holding cell until he can be transferred to the bigger station. Catching up with all of his old friends, Ryan gives his daughter a call to come to the station to meet him, but there is something brewing in the back of the truck that is looking to take revenge for its previous day’s torment that nobody can see coming. 

Waking from its slumber, the Sasquatch is able to break out of the truck and takes a look around at its new surroundings. Finding that women like to get undressed in front of open windows here, the Sasquatch seems to really enjoy where it has been moved to, but also knows it needs to say hidden in the shadows as it could still be hunted. Moving through the city during the dead of night, the Sasquatch keeps a keen eye on the police station to make sure that nobody is able to enter or exit until it is able to exact its revenge on the man that brought him there. As the night moves on and the body count continues to rise, the Sasquatch has laid claim to its prey and will not stop its hunt until Terry becomes another one of its trophies.

I am always a sucker when it comes to Bigfoot movies, especially when it only wants to destroy everything in its path. As Terry is only using tranquilizer darts to keep the beast sedated to monetize his prize, not keeping the Sasquatch knocked out is deadly for everyone involved. I liked the crew inside of the old police station, especially Amy who really stole the show with her know how of keeping herself and the others safe from the wrath of the Sasquatch. With a poacher, some dead bodies, blood splatter, some knives, a lack of guns, a side-tracked storyline that actually pays off and a perverted Sasquatch, it is just a fun movie to get lost in. While I don’t know if it would be a good idea to bring a Bigfoot into a populated area, I would like to know what the beast has against dogs, I mean, come on, dogs are awesome and should be petted, not squashed. Stay Scared.

​Everybody is unique in their own kind of way, especially when it comes to their genes. Some people are able to drink like a fish and never suffer the consequences for it, while the rest of us wake up looking and feeling like a zombie. Some people are able to eat all of the gluten they want, while others have violent reactions to it and can go into shock. The only commonality between these people is that they are of course human, but it ends there, because what their genes attribute to them is unique in all cases.

After getting dropped off in the Rocky Mountains, Jacob Fitts is ready to start shooting his next episode of I Am All Alone. Saying goodbye to his team that he will meet up with again in a couple days, he starts his adventure by making his way down the river. Getting to shore and finding some fruit, he treks into the unknown to bring the viewers at home the most authentic show he possibly can. But he quickly finds out that he is not alone in the mountains as he hears gun shots coming from somewhere, yet his nightmare is just starting to begin when he is attacked by a stranger that takes a bite out of his arm. Killing the stranger in self-defense, Jacob needs to make his way back to the meeting point to call for help to make sure that he is absolved of any charges that can be brought against him for the fight, but he is starting to feel the ill effects of whatever the stranger was infected with, forcing him to take stock in his own being.

Leaving their friend and star in the woods on their own, Mason and Adam make their way into town to get some interviews from the locals about what could happen in the woods. Having a couple shots messed up by people moving behind the interviews, they have no idea what is causing some sort of panic around them. As the weather starts to move in, the two are getting ready to pack up and make their way to the cabin meeting point to check out the footage when they witness a woman getting shot right in front of them. Seeing her come back to life, they find themselves in for a reality show that will change the world. Getting as much as possible on film, the two are overrun by the flesh eaters and while Mason is able to escape their clutches, Adam is not as lucky and joins their ranks. With his military training kicking in, Mason needs to find a way to get word to Jacob about what is happening, but it will send him through the hordes of the undead who are looking for their next meal.

Being pulled into a secured CDC facility, Mason is shackled to a table and forced to talk to Doctor Marlow who is trying to find a cure for whatever this outbreak is. Showing scenes of what was happening to himself, Mason also sees what is happening to his friend in the mountains. Not being able to come up with the answers that the doctor is looking for, Mason is at his breaking point and demands to be released but is only granted a shackle less remainder of the interview. Watching the final footage of his friend after he has fully turned into a flesh eater, Mason and Marlow find out that the remedy is in the blood, but will they have time to make a vaccine before the compound is over run?

Pretty solid little zombie flick and I am not only saying that because it took place in Colorado, it really took a different turn than I expected. Watching as Jacob is oblivious to what is going on in town, his journey after becoming infected was pretty darn good to watch on the screen. Then you get to watch as Mason is forced to re-live all of the agony he was forced to live through for the past day, including seeing his good friend becoming a zombie which killed him inside. I really liked how the secure CDC location was experiencing power outages throughout the movie, making sure you understand that the threat was far from over, that was a good touch. With some zombies, a reality television show, a walk, through nature, a river, a man refusing to give up his life and a friendship that will last long after death. This is a pretty good movie to see how quickly the system can breakdown, especially when nobody knows what is happening when it all begins. Stay Scared.