Directed by Norman J. Warren [Other horror films: Satan’s Slave (1976), Prey (1977), Terror (1978), Inseminoid (1981)]
This British film was a bit of a mess, and that’s probably being kind.
At times, Bloody New Year felt like a silly version of Poltergeist, only not nearly as enjoyable and generally a lot more pointless. Theoretically, the movie could have had potential, but it’s pretty hard to tell looking at this final product.
Really, Bloody New Year is just odd. There’s a little charm in the various oddball dangers the group of friends face (such as a biting bannister, a killer vacuum, invisible laughing people, etc.), but even when things are tied together at the end, it doesn’t really do much to help.
The cast is pretty much entirely forgettable, which may not be a big surprise, but at the same time, at least one or two cast-members tend to stand out in a movie, so the fact that none did here was somewhat bothersome.
I don’t exactly know who this movie would be best for. Sure, it’s an 80’s obscurity, by-and-large, but it’s by no means a hidden gem, and while there’s some over-the-top scenes here, I don’t think it really gets wild enough to come across as that memorable. Perhaps during certain scenes, in the moment, I enjoyed watching them. But overall, the movie’s pretty poor, and an interesting setting (a deserted island) doesn’t much forgive the other flaws this British flick possesses.
4/10
This is one of the films covered on Fight Evil’s podcast, so if you’re interested in hearing myself and Chucky (@ChuckyFE) discuss this one, give it a listen.
I’ve had the vaguest notions of this Canadian film for many years, never really knowing what it was about, aside from some cursed young man going on a killing spree. I guess that’s all you need to know, and all you get to know, because Skullduggery is entirely illogical and nonsensical in a way I’ve rarely witnessed before.
There are a lot of elements about this movie that I can’t make heads or tails of at all, such as the gorilla in the hospital (who appeared to be smoking), or the (evil/possessed?) jester doll, or the funeral chase sequence, or the lengthy costume party at the end (it started out normal, but then it became Satanic somewhere along the way, I guess?), or the magician, or the snake/heart attack, or the most unenthusiastic DM I’ve ever seen, or the random cuts of a guy in shadows putting a puzzle together, or the tic-tac-toe guy who pops up every other scene for no reason, or the guy in a sparkly suit playing piano, or the suit of armor that lives with the jester/killer…
This film is utterly bewildering.
I guess it’s fair to call it a slasher, as multiple people get killed with swords or knives, but this movie is so out there that I doubt many would really want to count it. Certainly, with the threadbare plot they had, it could have been a more conventional slasher, but the direction Skullduggery defies explanation. I mean it – I’m floored.
You know what? I think that says it all. This movie is bizarre on a level that few movies I’ve seen are (only ones that immediately comes to mind is 1981’s The Territory or 1989’s Things), but it’s also rather dull despite the crazy stuff in the film.
Just watch it. Be amazed. But I don’t think anything could really prepare you for this. The theme song is catchy stuff, though.
I think we can all agree that the first Friday the 13th is a great movie, but the second film is probably a bit better. That’s always been my feeling on it, anyway, but at the same time, the first five films of this series are all pretty solid in their own way, and all are above average. The second part isn’t the best of the five, but it is pretty damn solid.
The kills here are great. I think there’s only one that’s particularly weak, but most of them are of high quality, from the razor-wire garrote, and double impalement by spear to a machete to the face, hammer to the head, and of course the upside throat-slitting. Though Tom Savini wasn’t involved in this one, I thought the kills were all pretty great, which is nice to see.
Character-wise, there are some memorable ones here. Paul (John Furey) wasn’t that memorable, but Ginny (Amy Steel, also from the classic April Fool’s Day) was a fantastic character, and with her child psychology interest, she was a good choice of protagonist, as she, above anyone else, could even have the potential to get through to Jason (which she does, in a way). Ted (Stuart Charno) was pretty fun too, and unlike many in these films, finds a happier ending, which was a nice surprise.
The couples Terry (Kirsten Baker) and Scott (Russell Todd, later in Chopping Mall), along with Jeff (Bill Randolph) and Sandra (Marta Kober), don’t particularly interest me (though Baker did have a solid nude sequence), but all their deaths were welcomed. Mark (Tom McBride) and Vickie (Lauren-Marie Taylor, later in Girls Nite Out), though, were both enjoyable characters, Vickie in particular, as she was the cutest girl here, and I really liked her personality. Same for Mark, as a wheelchair-bound character in a slasher isn’t something you see everyday.
Seeing Adrienne King come back for the opening was decently fun, and did set up the movie well, but I don’t know how much I care for Jason going so far out of his way just to get revenge. Still, I’m glad they went as far as to bring King back, however briefly.
As for Jason, I really like his portrayal here. He runs, he makes mistakes (him breaking that chair toward the end always struck me as funny), he gets knocked down – Jason here seems a lot more human than he does in later films, and I thought that worked well. I also like the sack over his head – I get that the hockey mask is iconic, but I thought he looked reasonably frightening here, so I had no complaints. Steve Dash did great here as Jason, so it’s a shame he never played him again (though Warrington Gillette was credited as Jason, apparently Dash, the stunt double, played Jason for much of the film).
Of course, the ending is good fun, what with a rainstorm and characters finding bodies, getting killed, all that good stuff. Much like with the first film, I really enjoyed the finale, though I think the first one was better (though we do get a very clever way to deceive Jason here, which I thought was quite ingenious). Still, a lot of frantic running and fighting happen here in the final twenty minutes, and it’s all good fun, even the somewhat dreamily mysterious conclusion (we never really do find out what happens to Paul). I’m just happy that decapitated head didn’t wink, or something, because I won’t lie – they were definitely thinking of doing that.
Friday the 13th Part 2 isn’t the perfect slasher, but I do think it’s a lot of fun, and the likable and memorable characters here are certainly worth watching, and there are a few solidly funny quips here too (‘No seconds on desserts,’ or ‘the one with the puck’). I never hesitate to watch this one, and while I think the first movie has a better finale, Part II is a bit more enjoyable overall.
8.5/10
This is one of the films covered on the Fight Evil podcast, so if you’re into cool shit brah, here’s Chucky (@ChuckyFE) and I discussing this classic.
Directed by Joseph Mangine [Other horror films: N/A]
I’ll be forthcoming and admit that I didn’t go into this one with high expectations. Truthfully, I was thinking that I’d rather dislike it. But as it turns out, not only did I enjoy it, but despite some very glaring problems, I actually rather loved it.
I want to talk about the big problem with the film first before I go into praising it incessantly. We never find out what exactly the monsters are, or where they come from, or what they want, or why they want it. They seem to come out at night to kill, and that’s about all we know about them. Some of their designs are a bit off, but for most of the main ones, I thought they were decent (such as the one with ropes). Also, it could be argued that the film doesn’t have much coherency.
All of that said, though, I had a great time with this.
In a somewhat unique choice, Neon Maniacs plays itself pretty straight for most of the film. With a title like it has, you’d expect endless camp and maybe silly comedy (think Troma), but aside from a few funny lines (and the scene at the turnstiles), the movie’s nothing like that (which goes a long way to explain why I enjoyed it more than I thought I would). The characters know they’re in danger, and there’s a pretty somber tone throughout, especially toward the end (speaking of which, that final line is fantastic).
There’s a lot of great scenes here, such as the really cool pool sequence and much of the battle of the bands finale. That battle of the bands was fun especially because I actually really liked that first song, ‘Baby Lied.’ It was catchy and totally my jam. Even ignoring the fun music, though, when it randomly cut to Donna Locke’s character sitting atop the speakers and cheering, dressed as a vampire, I couldn’t help but laugh.
Donna Locke is perhaps the number one reason I loved this film. Her character’s utterly adorable, and is a lot more interesting and proactive than the actual main character of the film (played by Leilani Sarelle). She directs low-budget horror films, fights off a few monsters single-handedly, goes to investigate and videotape the monsters, and consistently tries to hook up with Sarelle in order to fight against them. Donna Locke’s character is utterly badass, and it’s a damn shame that Locke has never appeared in anything else. I really liked her character, and cheered whenever she was onscreen.
Clyde Hayes and Leilani Sarelle do well too, they’re just not nearly as memorable. Hayes previously appeared in the fourth Friday the 13th, but he was more prominent here, which worked well, as he was decently action-oriented. The scenes in which Hayes, Sarelle, and Locke worked together in order to fight off the monsters were all rather fun, so props to that.
Neon Maniacs surprised me. It has pretty good special effects, some effectively atmospheric sequences (such as Locke traveling in the fog), memorable characters, decent deaths, and enjoyable music, all tied together with a would-be campy plot played generally straight. I will admit to being taken aback, but that was my mistake. A really enjoyable movie, despite the origins of the monsters never being made clear.
8.5/10
This is one of the first movies Chucky (@ChuckyFE) and I covered on our Fight Evil, so listen below as we awkwardly discuss it.
Directed by Wes Craven [Other horror films: The Last House on the Left (1972), The Hills Have Eyes (1977), Stranger in Our House (1978), Swamp Thing (1982), Invitation to Hell (1984), The Hills Have Eyes Part II (1984), A Nightmare on Elm Street (1984), Chiller (1985), Deadly Friend (1986), The Serpent and the Rainbow (1988), Shocker (1989), The People Under the Stairs (1991), New Nightmare (1994), Vampire in Brooklyn (1995), Scream (1996), Scream 2 (1997), Scream 3 (2000), Cursed (2005), My Soul to Take (2010), Scream 4 (2011)]
Directed by Wes Craven, Deadly Blessing is a movie I’ve been wanting to see for some time, and while I’m not surprised with my somewhat lukewarm reception to it, I do wish this one was a bit more stable, as it certainly had the potential to be a better movie.
Dealing with an Amish-like religious group called the Hittites (they’re pretty much Amish, though apparently more fire-and-brimstone and all that jazz) and a mysterious killer, Deadly Blessing occasionally feels like a really bizarre slasher. The slasher aspects themselves don’t really overtly pop up until the finale, but there’s plenty of creepy and unsettling scenes beforehand, among them sequences including tarantulas falling into mouths and snakes sliding into bathtubs (setting up a scene very similar to Nancy’s bathtub sequence in ANOES).
The three main women here were all good. Maren Jensen and Susan Buckner (who was the most attractive of the three women, especially in her jogging clothes) did the best, as past a certain point, Sharon Stone’s character didn’t have much to add (though to be fair, she did play more a part in the finale than did Buckner’s character). Ernest Borgnine was intimidating in his role, and had a way with words toward the serpents (or should I say the women who are not followers of his religion).
Lois Nettleton and Lisa Hartman, who played mother and daughter, were okay, but I don’t think either one was special. Michael Barryman (who was in The Hills Have Eyes) was nice to see, but didn’t necessarily add much. Lastly, as attractive as Buckner was, my vote for cutest woman here is Colleen Riley (who was in the second Hills Have Eyes).
I think the problems here is that it takes a bit of time to get going, and when things to start happening, while some of the sequences are unsettling (such as the aforementioned tarantula scenes), it doesn’t feel quite enough. I enjoyed much of the story, though the ending was pretty damn bad. There’s a portion here too that reminded me a bit of Sleepaway Camp, though not nearly as interesting or effective. There were some good scenes here (such as Sharon Stone’s sequence trapped in the barn), but there just wasn’t enough to make the hour and forty minutes seem like time well-spent.
After The Hill Have Eyes, Craven directed five movies before getting to A Nightmare on Elm Street. I’ve not seen the other four (Stranger in Our House, Swamp Thing, Invitation to Hell, and The Hills Have Eyes Part II), but this one struck me as pretty middle-of-the-road. Like I said, I think there was more potential here than what the end product showed. Deadly Blessing isn’t without partial merit, and I still think the movie’s almost a smidge above average (if for nothing else, the mystery of the killer’s identity mixed with the remote setting worked well together), but I don’t see it as any more than that.
7/10
And as Chucky (@ChuckyFE) and I covered this on the Fight-Evil podcast, you can listen to us discuss it below.
Directed by Jesús Franco [Other horror films: Gritos en la noche (1962), La mano de un hombre muerto (1962), El secreto del Dr. Orloff (1964), Miss Muerte (1966), Necronomicon – Geträumte Sünden (1968), The Blood of Fu Manchu (1968), Der heiße Tod (1969), Marquis de Sade: Justine (1969), The Castle of Fu Manchu (1969), Paroxismus (1969), De Sade 70 (1970), Il trono di fuoco (1970), Nachts, wenn Dracula erwacht (1970), Les cauchemars naissent la nuit (1970), Vampyros Lesbos (1971), Sie tötete in Ekstase (1971), Jungfrauen-Report (1972), Drácula contra Frankenstein (1972), Der Todesrächer von Soho (1972), La fille de Dracula (1972), Dr. M schlägt zu (1972), Les démons (1973), La comtesse noire (1973), La maldición de Frankenstein (1973), La nuit des étoiles filantes (1973), Los ojos siniestros del doctor Orloff (1973), Al otro lado del espejo (1973), La noche de los asesinos (1974), Les possédées du diable (1974), La comtesse perverse (1974), Les gloutonnes (1975), L’éventreur de Notre-Dame (1975), Sexorcismes (1975), Frauengefängnis (1976), Jack the Ripper (1976), Un silencio de tumba (1976), In 80 Betten um die Welt (1976), Die Marquise von Sade (1976), Greta – Haus ohne Männer (1977), Die Liebesbriefe einer portugiesischen Nonne (1977), Die teuflischen Schwestern (1977), Der Ruf der blonden Göttin (1977), El sádico de Notre-Dame (1979), Mondo cannibale (1980), El caníbal (1980), Die Säge des Todes (1981), La tumba de los muertos vivientes (1982), La mansión de los muertos vivientes (1982), Revenge in the House of Usher (1983), El tesoro de la diosa blanca (1983), Macumba sexual (1983), Sola ante el terror (1983), Sangre en mis zapatos (1983), Mil sexos tiene la noche (1984), El siniestro doctor Orloff (1984), Lilian (la virgen pervertida) (1984), La esclava blanca (1985), Killer Barbys (1996), Tender Flesh (1997), Mari-Cookie and the Killer Tarantula (1998), Lust for Frankenstein (1998), Vampire Blues (1999), Dr. Wong’s Virtual Hell (1999), Helter Skelter (2000), Vampire Junction (2001), Incubus (2002), Killer Barbys vs. Dracula (2002), Snakewoman (2005), La cripta de las mujeres malditas (2008), La cripta de las mujeres malditas II (2008), La cripta de las condenadas (2012), La cripta de las condenadas: Parte II (2012)]
To be honest, I’ve not seen that many Jesús Franco flicks (and as you can see, even within just the horror genre, he was hella prolific). Off the top of my head, The Bloody Judge and Oasis of the Zombies are the only others from him I’ve seen. Not that I have anything against Franco – I’ve heard pretty mixed things about his work, but plenty of it sounds interesting. All of this is to say that I wasn’t entirely sure what to expect going into this one, but I certainly wasn’t expecting to enjoy it as much as I did.
Sure, the gore here is definitely good, and I’ll touch on that in a bit, but the story was surprisingly solid, sympathetic to both sides of the violence. Things went a bit deeper than I’d have expected, and on a whole, it was a nice surprise.
As far as performances go, the only one that really stood out was Helmut Berger. Gérard Zalcberg was pretty solid as a degenerate rapist and murderer, to be sure, but Berger is by far the most memorable. It’s not as though we’re inundated with bad performances, though – most people here do perfectly fine.
The gore within Faceless is most paramount, though. It’s just fantastic – the most brutal scene is a botched removal of a face (utterly sickening, but it really does it’s job), but even the successful facial removal is gruesome (especially given the victim is still alive, and taunted with their own face in sociopathic fashion). You also have a decapitation by chainsaw, a stab through the throat by some scissors, a needle stab in the eye, some power drill and hook action, all the goodies. This movie came to play, and play it did.
Even without the great gore, there were some really suspenseful scenes here. In one, a victim was just about to make herself known to someone searching for her, but last second, she’s dragged into another room and all hope vanishes. Speaking of vanishing hope, the conclusion here is a lot darker than I’d have initially expected. Talk about a dreary finale.
Faceless isn’t the most amazing Italian movie of the late 1980’s, nor do I suspect it’ll be the most memorable as the days move on, but it was a surprisingly solid time, and I’d certainly recommend it to fans of the genre.
7.5/10
And for even more on this, Faceless was one of the films covered on Fight Evil’s podcast, episode #28. If you’re interested, listen to Chucky (@ChuckyFE) and I discuss this one.
Directed by Tom Holland [Other horror films: Child’s Play (1988), Two-Fisted Tales (1992, segment ‘King of the Road’), The Langoliers (1994), Thinner (1996), Tom Holland’s Twisted Tales (2014), Rock, Paper, Scissors (2017)]
Perhaps one of my favorite vampire films, Fright Night is a lot of fun and sets a high standard for a modern-age vampire story, and does a great job in a subgenre of horror often stuck in the 1950’s.
The story is, of course, a lot of fun, and really has that 80’s vibe that sticks with you (most noticeable during the scenes right before and during the club sequence), and the characters too are mostly memorable also. I’m somewhat lukewarm when it comes to William Ragsdale’s performance, but Chris Sarandon, Roddy McDowall, and Stephen Geoffreys all do great. I don’t really understand Evil Ed’s character, but McDowall’s great performance as Peter Vincent more than makes up for small issues insofar as casting was involved.
As far as special effects go, Fright Night has a lot to boast about, as there’s few scenes here that don’t look pretty solid. Melting vampires, multiple transformations, a great wolf-to-man transition, the movie has a lot going for it. Two scenes in particular really impressed me, one being Evil Ed’s first attack on Peter Vincent, and then the death of Jonathan Stark’s character, what with the rapidly deteriorating body. Even Evil Ed’s second attack on Vincent (“His dinner’s in the oven!”) was great, and somewhat emotional also.
Not everything in Fright Night works, but to be honest, most of what doesn’t do it for me are smaller things (such as Ragsdale’s acting). I do adore the ending of the film, and absolutely love McDowall’s somewhat complicated character, and for these reasons, and others, Fright Night has long been one of my favorite vampire movies, definitely one that any fan of 80’s horror should check out if they’ve not done so already.
8.5/10
This classic vampire film was covered on Fight Evil’s seventh podcast by Chucky (@ChuckyFE) and myself, which you can listen to below.
Directed by Franco Prosperi [Other horror films: Mondo cane (1962), Africa addio (1966)]
This Italian movie is something of a hoot. Truth be told, while it has the tendency to drag a little, overall, I definitely think it’s a film worth seeing, should you be a fan of Italian entries to the genre.
I wouldn’t say you should see it for the cast, however – make no mistake, I think the principal actors/actresses (John Aldrich and Lorraine De Selle) do fine, but neither one is special, especially considering the rather horrible dubbing job done. I did appreciate Ugo Bologna as the Police Chief, along with Louisa Lloyd as De Selle’s bratty daughter (and, on a side-note, I detected what had to be close to underage nudity early on in the film, which came as a bit of a shock). Still, these four are virtually the only important cast members, and while none of them are bad (which isn’t to say unlikable), it’s not why you’d come to this flick.
Instead, it’d be for the sometimes brutal animal attacks, of all flavors. Favorites of mine including an elephant stomping on a woman’s head (unfortunately cut somewhat short), an epic rat attack toward the beginning, which was beautifully gory, and a rather tragic attack upon a blind man by his seeing dog (which was filmed in a much more somber way than you might expect from a piece of schlock like this). The gore is never too in-you-face, and there are plenty of suspenseful scenes that go without, but when it did pop up, it was generally of solid quality.
At times, though, because of switching between mostly random people being attacked by random animals (such as the six minute cheetah chase, which was moderately suspenseful), the movie felt a bit aimless at times. It’s not necessarily a bad thing, because within the context of the story, such a route makes sense, but Wild Beasts definitely felt a bit off at times.
Personally, I think that this movie had a lot of get-up-and-go despite some of the issues I had with the cohesiveness (I should point out that the conclusion is pretty cool, albeit a bit weak in the way it played out). It’s not a great movie, but I do think that this Italian flick has a lot of character, and while I wish it had more gore, there were some kills (such as the seeing dog attack and the rat attack) that were well-worth seeing, and generally, I’d say Wild Beasts is enjoyable, just not special.
Directed by Matt Devlen [Other horror films: Tabloid (1989)]
This low-budget flick is not nearly as fun as the title would lead you to believe. In fact, it’s a pretty damn dry and boring film, and there’s very little here that’d be worth seeking it out for.
Does the movie occasionally boast some solid, low-budget gore? Sure, but it’s pretty sparse, and ultimately not really worth it. In the first half of the film, there was really only one scene worth watching (it was decently gory, luckily), but everything else was just utterly pointless filler (the highlight of which was an old woman chasing a chicken around her kitchen, cackling).
Let me let you all in on a secret: When the height of entertainment in the first half of a movie is an old woman chasing a chicken around a kitchen, cackling, you know that the film has problems.
The pitiful performances didn’t help much. Blue Thompson was the best of the bunch, which really, really isn’t saying anything. Scott Davis whined way too much, and Brad McCormick was just a ridiculous caricature of a hillbilly (though nothing so over-the-top as Redneck Zombies did, thank God).
Of course, nobody’s coming to this film because of the potentially solid acting – it’s for the low-fi gore. And I will admit, for a lower-budget film, the special effects and gore are decently effective. It’s nowhere near as good as Nathan Schiff, but it’s still decent. The problem is, save for the one aforementioned scene in the first half of the film, most of the movie just follows pretty uninteresting characters in extraordinarily dull ways.
We watch this farmer’s wife do some dishes and iron a few shirts as she looks to the window, where her husband’s outside giving water to their dog. We see an older woman knead some dough and chase a chicken. We see a wanna-be country singer (god, was her accent something else) get ready to go to her singing engagement (which takes place at the small general store). All of this is done without dialogue, and it’s more than a little boring.
Ozone: The Attack of the Redneck Mutants is nowhere near as fun as the title makes it sound. It was a painfully joyless experience, and the occasionally good gore (which including a tongue getting pulled out, an eyeball removed, and of course intestines being ripped from the stomach) doesn’t excuse this film’s unfortunately dry feel. Even if you are a gore-hound, there’s almost nothing about this one to recommend. It was just poor movie-making.
Directed by George A. Romero [Other horror films: Night of the Living Dead (1968), Hungry Wives (1972), The Crazies (1973), The Amusement Park (1975), Martin (1976), Dawn of the Dead (1978), Day of the Dead (1985), Monkey Shines (1988), Due occhi diabolici (1990, segment ‘The Facts in the Case of Mr. Valdemar’), The Dark Half (1993), Bruiser (2000), Land of the Dead (2005), Diary of the Dead (2007), Survival of the Dead (2009)]
Creepshow’s an interesting movie to me, because while I actually only love two of the stories in this one (‘Something to Tide You Over’ and ‘The Crate’), I think overall the movie’s pretty excellent, and definitely excels in creating that comic book feeling, which so few movies can properly do.
‘Father’s Day’ and ‘The Lonesome Death of Jordy Verrill’ are both lacking in different ways. I certainly like the revenge aspect of the former, and I do enjoy the final scene, but it just doesn’t do it for me. As for the latter, I love the concept, and think the plant life looks rather creepy (and the ending is pretty good on multiple counts), but the overly comedic style of the story wasn’t something I’m fond of.
The final story, ‘They Creep Up on You’, is my third favorite, my main issue being that I felt they could have added in something along the lines of either the recent widow or the ghost of her husband somehow being connected to the onslaught of roaches (which would have worked well, since three of the past four stories in this movie have been about revenge in some form or another). I think it’s a fine story with solid effects, but it could have been better.
‘Something to Tide You Over’ isn’t a complex story, but I think it’s rather fun, mainly because of Leslie Nielsen’s great performance. His eccentric character is fun, and I love the final line (“I can hold my breath for a looooooonngg time”), and I reference it often. No one in ‘The Crate’ is as fun as Nielsen (though I do rather like Hal Holbrook), but it’s probably a better story overall.
There are some solid performances throughout. Obviously, I love Nielsen’s role, and he stands out as perhaps my favorite character. Hal Holbrook (who appeared in other classics such as Rituals from 1977 and The Fog from 1980) did great in his role also. E.G. Marshall, while his character is despicable, does great, as expected. Others who stood out positively include Tom Atkins, Ted Danson, and Viveca Lindfors. I love Stephen King’s writing, but his acting here, while intentional in it’s campiness, didn’t really work for me.
As far as anthology horror films go, there are better examples than Creepshow, such Tales from the Crypt (1972). Still, Creepshow is arguably much funner, and is a damn good example of a campy anthology done right. It’s not perfect, but there’s a lot to like about it, from the performances, to the animation, from the framing story (with a rather satisfactory ending), to the soundtrack. Not every story hits the mark, but it’s still a movie well-worth watching.
8.5/10
And this was also covered on Fight Evil’s podcast on the very first episode. Listen as Chucky (@ChuckyFE) and I discuss the film.
Jiggy's Horror Corner 