Martyrs (2008)

Directed by Pascal Laugier [Other horror films: Bonne Nuit (1999), Saint Ange (2004), The Tall Man (2012), Ghostland (2018)]

I’m not one of those who believes that a movie has to be enjoyable to be good, but I do maintain that if a movie is not a particularly enjoyable viewing experience, then those who dislike it have every right to do so. That’s clearly relevant to me here, because while Martyrs is a well-done movie in plenty of aspects, it’s a movie that I have a hard time with, and definitely don’t find that enjoyable.

Whereas other French horror films from the same time period share the same bleak feel this film possesses (such as Frontière(s) and Haute tension), they still have a bit more of a, shall we say, cinematic background, and by that, I mean that while they can be dark, I still find myself entertained, and that’s not something I can truthfully say about Martyrs.

No doubt the film is well-acted, though. Mylène Jampanoï and Morjana Alaoui make for a believable pair of friends, and Alaoui especially does well toward the second half of the film. Though a character of miserable intent, Catherine Bégin does a pretty good job, which might be helped by the fact she really only appears a handful of times.

There’s also no doubt that the special effects are amazing. Honestly, the movie isn’t quite a gory as people might think, but there are plenty of brutal scenes, and especially in the second half of the film, some hard-to-stomach sequences, so though it’s not a gorefest by any means (aside from perhaps the shotgun slaughter toward the beginning), there are some things here that probably won’t easily be forgotten.

Like I said, though, despite some positive and well-done elements, I just don’t enjoy the movie. It’s entirely possible that I liked this a little bit more than when I first saw it years back, but even then, it’s just a smidge. Part of it is the grueling scenes of torture that a character endears (and seems to last at least 15 solid minutes), and part of it is the story and the pseudo-philosophical ideas about the afterlife and forced martyrdom.

I did find myself enjoying the end (though I do quite want to know what was whispered in Bégin’s ear – not enough to go out, capture young women, and torture them into ectasy, of course – but I am definitely curious), but I don’t think it was entirely satisfying, which may well be the point, given the bleak feel that this movie has. The fact the finale is somewhat inconclusive makes the film darker still.

Martyrs is often rated quite highly, and I don’t want to take that perception away from people. I can only say that I personally didn’t love it, and though I can admit that there are elements that I could conceivably enjoy, it’s not a movie that I think I’ll go back to near as often as I would films like Haute tension. Take that how you will.


Eden Lake (2008)

Directed by James Watkins [Other horror films: The Woman in Black (2012)]

The thing about Eden Lake is that it’s a well-made movie with an interesting premise, but it’s utterly demoralizing. It’s not a happy movie, and it’s not something you walk away from without being partially disturbed. That makes for a good movie, but not necessarily a good time.

Like I said, though, it’s certainly well-made. The rising tension and growing escalation between the main characters and a bunch of thug kids is certainly on point. What makes it slightly more interesting is that it’s a scenario that’s somewhat thought provoking in spite of the brutality. Much of this is due to Kelly Reilly’s character being a teacher, and the situation she and Michael Fassbender find themselves in, and she has to defend herself, going on the offensive, against the kids.

And speaking of which, I want to speak a bit on Fassbender’s character. He didn’t seem to have a problem with the kids bullying another kid early in the film. Why? It’s just ‘boys being boys.’ When it personally impacts him and his enjoyment of the day, though, he takes issue, because of course he does.

I don’t mind him asking the kids to turn the music down. I don’t mind him looking out for the kids in town once they cause one of his tires to deflate. But entering another person’s house without permission in order to confront them? Dawg, let it go. But he didn’t, and after his car was stolen, well, we see what happens. Really, past that point, both he and his girlfriend were screwed.

Eden Lake doesn’t take long to get brutal. There’s a bit of build-up, sure, but once the damn breaks, it breaks hard. Some painful scenes throughout assault the two protagonists, from very painful cuts from a box-cutter to someone’s foot being impaled by a rather sharp stick. When said character is pushing that stick out, I cringed. Likewise, when one badly injured character is struggling to keep consciousness, knowing that they are likely to die no matter how quickly help can be brought, it’s pretty dismal.

As is the movie as a whole, to be fair. Like I said, it’s a well-made film, but this is not an enjoyable romp. It’s dark and depressing, and very often more distressing than not. Seemingly good characters turn out to be a bit more ambiguous, and those who move toward a more positive side are killed in generally terrible ways.

To put it as simply as possible, if you had a Baby Blues and Eden Lake double feature, invest in some therapy afterward in order to get through the depression, as both of these are gloomy as all hell.

Certainly, though, Eden Lake is worth seeing. It’s a simple premise, but it’s done fantastically, and as much as a downer portions can be (such as that ending, which just leaves you a mixture of angry and discontent), it’s a great film, and probably one of the better British films in recent times.


This is one of the films covered by Fight Evil’s podcast. Listen below as Chucky (@ChuckyFE) and I discuss Eden Lake. It’s dope, yo.

Gutterballs (2008)

Directed by Ryan Nicholson [Other horror films: Necrophagia: Nightmare Scenarios (2004, segment ‘Blaspheme the Body’), Torched (2004), Hell Hath No Fury (2006, ‘Torched’), Live Feed (2006), Hanger (2009), Star Vehicle (2010), Famine (2011), Dead Nude Girls (2013), The Profane Exhibit (2013, segment ‘Goodwife’), Alarming (2013), Collar (2014), Gutterballs 2 (2015)]

In many ways, Gutterballs is a somewhat amateurish effort, and there could be an argument made that it runs a tad long. I’ll admit that it’s far from a perfect movie, but it does have a decent rape-revenge plot with solid gore, all in somewhat brutal fashion, if that’s your thing.

I think the biggest complaint I have about Gutterballs, and I suspect many might feel the same, is that most of the characters we spend significant time with are utterly despicable. Steve (Alastair Gamble) and his friends Joey (Wade Gibb), A.J. (Nathan Dashwood), and Patrick (Trevor Gemma) were really hard to feel even an ounce of sympathy for at any point. Being the rapists in the film, that can be excused, but everything, from their overly childish banter to their aggressive jock attitudes, just screams “I deserve death.”

Sure, we get a little insight into Lisa’s (Candece Lewald) character, who is the victim of the gang rape, but most of her friends, from Sarah (Mihola Terzic), Jamie (Nathan Witte) to Dave (Scott Alonzo), whoever, get very little to no development. These characters seem a hell of a lot better than Steve and Co., but we really don’t see them all that often, which was a problem.

Alastair Gamble did great at playing a horribly convincing jock rapist, and was about as terrible a character as you’d expect (I don’t doubt for one second that he is worse than anyone else in the film, killer or not). Nathan Dashwood and his terribly annoying laugh was pretty bad also, but the two of them certainly worked together well here despite really weak (but potentially realistic) dialogue.

One of the most interesting performances here is that of Trevor Gemma, who was involved in the rape, but was a lot more hesitant than the other three, and in fact attempted an apology to the woman the following night. With that, his heart might be in the right place, but as the movie shows, a simple apology isn’t near enough to exact the required justice. Still, Gemma was someone I wish we saw a bit more of throughout.

A large selling point of this movie is the gore, which couples well with the special effects. I think that most of the kills are okay, but some of the most gruesome really stand out (including the one penis scene, and a head getting obliterated in a ball-waxing machine). Certainly there’s a lot of gore (though that throat slit near the end, not to mention a shotgun blast taking off someone else’s head, might make up a large amount of that), but many of the kills aren’t necessarily highlight material.

Worth mentioning also is that the conclusion is not entirely satisfactory. We’re given a twist or two, what with the identity of the killer (or even perhaps multiple killers), but it seemed a bit overkill. I mean, I get the killer, but then you throw in some accomplices, and it feels a little silly. The final scene itself was also somewhat iffy.

All-in-all, Gutterballs is decent for a lower-budget rape-revenge film, and it’s retro feel (most obvious in it’s musical choices, from Loverboy to Chilliwack) is somewhat appreciated, but it definitely could have been better. I still think I’d rate the film about average because I think it hits above it’s weight, but I wouldn’t blame anyone for seeing this in a more negative light.


This is one of the films covered on Fight Evil’s podcast. Listen below as Chucky (@ChuckyFE) and I discuss this one.

Bonnie & Clyde vs. Dracula (2008)

Directed by Timothy Friend [Other horror films: Cadaverella (2007)]

This really shouldn’t have worked, but as surprised as I was, I got a decent kick out of this movie.

One reason that this is the case is due to the actor portraying Clyde, being Trent Haaga. Haaga’s been in quite a few low-budget horror flicks over the years, and I’ve only seen him in one other thing, but that made an impression. Slices, a rather poor anthology movie which also came out in 2008, was a pretty awful movie, the one shining light being – you guessed it, Trent Haaga.

Haaga was great here – I can’t point to exactly why I like him so much, but I do. His chemistry with Tiffany Shepis (Bonnie) was top-notch. Despite what this movie is (a low-budget film with somewhat shoddy special effects), the pair of them still had some emotional scenes that I really appreciated and, more importantly, bought. Luckily, Shepis and Haaga weren’t the only shining lights here.

Jennifer Friend was only in five other movies, but I utterly loved her wacky character here. She had a youthful exuberance and while she was occasionally a bit much, Friend brought a lot to the movie. From playing Ping-Pong when she was supposed to be paying attention to something, or randomly wearing a Native American headdress, or playing with dolls and recording radio shows, she was quite entertaining. She was a lot of fun, if I haven’t made it clear, and I really liked the fact she got a happy ending.

Also, Martin F. Glynn brought a little something too. He wasn’t near as special as Friend was, but he told a pretty funny story revolving around an informant and a goat’s tongue (Haaga’s facial expressions during this story cracked me up near as much as the story itself). The individual who played Dracula, Russell Friend, was decent, as was the sinister Dr. Loveless, played by Allen Lowry (his interactions with Jennifer Friend were always good quality), but it’s really Shepis, Haaga, and Jennifer Friend that make this movie the enjoyable movie it is.

The story itself isn’t really great, and while there’s Bonnie and Clyde and there’s Dracula, it takes something like an hour for them to actually cross paths. That’s okay, because the scenes focusing on just Bonnie and Clyde were, as I said, pretty good, ranging from comical to emotional, and while Dracula himself wasn’t that engaging, the individual trying to bring him back to full strength, Dr. Loveless, had a lot of funny conversations with his sister (Jennifer Friend). When these people all converge, the movie’s still great, but don’t get the idea that beforehand, I was tapping my fingers impatiently.

Bonnie & Clyde vs. Dracula sounds like it would be horrible (God knows I had my doubts), but I was very pleasantly surprised. I’m not saying it’s A+ cinema, but I did really enjoy this, and without a doubt, I could see myself giving this another watch, or multiple, in the future.


Copperhead (2008)

Directed by Todor Chapkanov [Other horror films: Ghost Town (2009), Monsterwolf (2010), True Bloodthirst (2012), Asylum (2014)]

Here’s a Sci-Fi movie I’ve enjoyed in the past and find myself enjoying once again. It’s a generic-as-hell western-horror movie with snakes, but damn it, I have fun with this.

I won’t waste too much time on performances, because I don’t know any of these people. Brad Johnson, Keith Stone, Brad Greenquist, Gabriel Womack, and Atanas Srebrev all did decent jobs, and had interesting and mostly fun characters.

The CGI behind the snakes was pretty God-awful, as were pretty much any of the special effects, but hey, it’s a Sci-Fi movie, what can you expect? Honestly, as bad as they were here, they’ve been much worse in many of their later efforts (for example, Sharknado and 2-Headed Shark Attack).

What works well with Copperhead, I think, largely comes from the enjoyable cast. Sure, the story’s ridiculously generic, that gun-fight is almost comically suspenseful, and you can see a few things coming from miles away, but even so, it’s a movie I have fun with, and also sports the quote ‘It’s hotter than nickel night at the whore house,’ which I use often during the summer.

Seriously, for a television movie, Copperhead consistently entertains me and keeps me interested. It did when I first saw it, and it did this time around also. I’ll never say it’s an amazing movie, but there are enough fun characters and amusing lines to keep me happy, so I find the potentially high score justified.


The Children (2008)

Directed by Tom Shankland [Other horror films: w Delta z (2007)]

I forget exactly when I first saw this British addition to the killer kid sub-genre, but I suspect it was during an October sometime between four to seven years ago. From my vague recollection, I didn’t much care for this one, and seeing it again with fresh eyes, I hate to agree with that earlier assessment. The Children may not be a bad film, but it’s certainly not as good as many seem to think, and I genuinely find the movie unremarkable with a hint of frustration.

Make that a lot of frustration, actually. Maybe this is simply because I’m not a parent, but if someone is trying to stab you, you have every right to defend yourself, no matter if the assailant is a kid or not. Yet the parents here wore blinders when it came to the fact that their children weren’t just a little dangerous, but fatally so. It took a teenage girl (played fantastically by Hannah Tointon) to do most of the work, and what does she get out of it? Nothing but hatred and physical pain from the others.

She’s not entirely the perfect character though, either, especially toward the end. I’ll just say this so I don’t give too much away: STAY THE HELL IN THE CAR AND DRIVE BY, YOU IDIOT!!

Now that I have that out of my system, I can briefly try to explain why I didn’t care for this one. Partially, it has to do with the fact that both times I’ve seen The Children, I can never tell the children apart, and thus, I don’t know who’s who’s kid, and it just loses me with names of kids that I sure as hell aren’t going to remember. In all fairness, it was better this time around, but still, I didn’t love any of the characters aside from the teen played by Tointon, which hurt.

None of this is to say that Stephen Campbell Moore, Jeremy Sheffield, Rachel Shelley, or Eva Birthistle put in bad performances, but I pretty much thought all of their characters, save Sheffield’s, were terrible. It’s probably a good performance that made me dislike their characters so, but either way, the only one here I really liked was Tointon’s character (who looked smoking in that unseasonably drafty short skirt, if I may say so).

This reminds me of one thing I did rather like about the movie, being it’s setting. It takes place in a decently-sized house in the country during winter, with a bit of snowfall toward the end, which looked pretty cool. It’s just a shame the story they came up with (and ‘twist’ to follow, if you want to call it that) wasn’t great.

Was the gore okay? Reasonably, when the movie deigned to go in that direction. At the same time, while it was nice finally seeing kids meet the grisly end they’re so often denied in horror films, I don’t know if anything here was particularly memorable, problematically. There was potential during a few scenes (the kids had plenty of sharp instruments at their disposal), but it never quite got there.

I can’t exactly pinpoint why I don’t like this one more. It’s not like I think the movie’s terrible, but I definitely find it underwhelming despite some decent tension of Tointon’s performance. When it comes to killer kid movies, I’d go as far as to recommend Peopletoys, also known as Devil Times Five or (get this atrocious reissue title) The Horrible House on the Hill over The Children, or even Mikey, or hell, even The Good Son. But this British movie isn’t one I enjoyed either time I’ve seen it, and though it really feels like it should be better, it’s a consistently disappointing film.


This is one of the films covered on Fight Evil’s podcast. Listen below as Chucky (@ChuckyFE) and I discuss this one.

Repo! The Genetic Opera (2008)

Directed by Darren Lynn Bousman [Other horror films: Saw II (2005), Saw III (2006), Saw IV (2007), Mother’s Day (2010), 11-11-11 (2011), The Devil’s Carnival (2012), The Barrens (2012), Angelus (2014), Tales of Halloween (2015, segment ‘The Night Billy Raised Hell’), Alleluia! The Devil’s Carnival (2016), Abattoir (2016), St. Agatha (2018), Death of Me (2020), Spiral: From the Book of Saw (2021)]

So I’ve seen this about three times, and it’s still not really my go-to when it comes to horror musicals. The style is something I don’t care too much for, and some of it’s just a bit too slapstick for me, but at the same time, I do think it’s a movie worth experiencing at least once.

A big issue I have with Repo! The Genetic Opera is that I don’t really care for many of the songs. Many are in a very industrial style, and one’s randomly an Avril Lavigne-inspired punk song. Still, there are some I rather enjoy, such as ’21st Century Cure,’ ‘Genetic Repo Man,’ ‘Inopportune Phone Call,’ ‘Zydrate Anatomy,’ ‘Chase the Morning’ (my favorite song by far), ‘Let the Monster Rise,’ ‘I Didn’t Know I Loved You So Much,’ and ‘Epitaph’. That may seem like a lot of songs, but there were quite a few that I didn’t enjoy at all. Part of it was how half of the songs were more spoken than sung, such as ‘Shilo Wake,’ which I just found awkward.

The cast here, though, is pretty solid, save for some characters I didn’t care for. Alexa Vega (who I know best from Spy Kids, a series I watched when I was a kid) did very well with her character, and her songs with her father, played by Anthony Head, were highlights of the film (especially ‘I Didn’t Know I Loved You So Much’). Head was amazing, his tragic back-story was on point, and the two sides of his personality were fantastic.

Terrance Zdunich cracked me up with his ‘GRAAVVVEEESSS’ line from ’21st Century Cure,’ and I also really liked his style in ‘Zydrate Anatomy’ (some mighty fine print). I sort of wish his character was more involved in the plot, but he was fun regardless. Another solid casting choice was Paul Sorvino as the main antagonist, Rotti, who didn’t have any standout songs, but had a great character. Sarah Brightman’s last scene was great, as was her portion of ‘Chase the Morning,’ but her character wasn’t really on my radar most of time.

What bothered me most insofar as the cast was concerned were Rotti’s three children, played by Paris Hilton, Bill Moseley, and Kevin ‘ohGr’ Ogilvie. Technically, the acting was fine, but I really didn’t like the over-the-top nature of these three, especially Moseley. Otherwise, like I said, the cast is fine, but boy, these characters just got on my nerves.

Obviously, what with the repossession of organs being prevalent to the plot, there’s some decent gore here, but much of it is more for slapstick value than it is shock. It’s done decently well, and though not often the focus, does occasionally stand out, especially in a scene toward the end regarding eyes and an iron fence.

Having seen this musical multiple times, it’s still not something I find myself enjoying as much as I wish I could. Some songs are great, but others are just sort of there, and that combined with some ridiculous characters really brings this down. If musical horror is something you’re interested in (and there’s not many other choices save Sweeney Todd: The Demon Barber of Fleet Street), I’d give this a look, but you may not be blown away.


Slices (2008)

Directed by Lenny Lenox [segment ‘Turnout’ / Other horror films: N/A], Neil McCurry [segment ‘Night Screams’ / Other horror films: N/A], Lance Polland [segment ‘The Range’ / Other horror films: Crack Whore (2012), Werewolves in Heat (2015)], Steven Richards [segment ‘Dead Letters’ / Other horror films: N/A] & Vito Trabucco [segments ‘The Exterminator’ & ‘Wraparounds’ / Other horror films: B-Movie: The Shooting of ‘Farmhouse Massacre’ (2002), Visions of Horror (2007, segment ‘Hooligan’s Valley’), Bloody Bloody Bible Camp (2012), Never Open the Door (2014), Happy Horror Days (2020, segment ‘4th of July’)]

When I first saw this film, I knew I found it below average. What I had forgotten in the years that passed was just how below average this mess of an anthology film actually was.

In Slices, we have five stories plus a framing sequence. Of these six total stories, maybe two are acceptable, and the other four all range from tepidly bad to downright awful. You certainly get a variety here, what with a  vampire story (‘Night Screams’), a slasher (‘Turnout’), a zombie story (‘The Range’), and torture porn (‘The Exterminator’). The last one (‘Dead Letters’) is sort of a Monkey’s Paw-like story, slightly unique in that is occasionally uses what seems to be claymation.

So you do get a variety with these entries, but as very few of them are worth watching, I don’t personally think it means much. Look at ‘Night Screams’ and ‘Turnout’ – both have needlessly dramatic narration (I don’t even know why they thought ‘Turnout’ even needed narration, but whatever) that doesn’t really add much. It’s pretty bad for ‘Night Screams’ because the monotone narration about ‘My life has been molded by a series of bad decisions. Tonight turned out to be another one’ was about as non-enthralling as you could expect.

Also, a bit of the 1968 classic Night of the Living Dead is shown here. They don’t try to pass it off as part of the actual movie (such as O.C. Babes and the Slasher of Zombietown did) but just because the film’s in public domain, it doesn’t need to be seen in every other low-budget horror movie. It gets really old; I’m just saying. Also, it might be advisable to give your stories a conclusion, but as ‘The Range’ lacked one, perhaps that’s just my point of view.

The best thing about this film is Trent Haaga, playing a Svengoli rip-off named Lucius Phibes on Theater of the Macarbe that the framing story’s based around. Haaga did fantastic as the over-the-top and cheesy horror host, and while pretty much nothing else in the movie was worth much, it was great seeing him having such a fun time.

Otherwise, Slices can likely be placed in a Top 10 worse anthology horror film list. There are worse ones out there, don’t get me wrong (such as The Telling from 2009 and Nightmare Alley from 2010), but Slices is pretty inept. Also, this is worth noting, I had no problem with the lower-budget nature of the film – had the stories been made with more money, they still would have sucked. Slices just isn’t really worth it.


Triloquist (2008)

Directed by Mark Jones [Other horror films: Leprechaun (1993), Rumpelstiltskin (1995), Scorned (2013)]

So, it’s hard right now for me to resist the urge to write an all caps review of how terrible this movie is, because I want to try and retain some modicum of professionalism. That said, Triloquist is one of the worst horror movies I have ever seen, and if I had a choice to watch this again or kill myself, I’d been grabbing for the rope in a heartbeat.

That might sound like an exaggeration, but I’m not entirely sure that it is.

Directed by Mark Jones, who brought us the decently enjoyable classic Leprechaun, Triloquist is a horrible experience from beginning to end. It starts off reminding me of Seed of Chucky, only, get this, worse (and my seething hatred for Seed of Chucky isn’t something that I thought would have competition).

Narration by the dummy. Narration that’s supposed to be funny. The dummy often talks about how hot Paydin LoPachin’s tits are, because that always gets a laugh. Honestly, pretty much everything in this movie was cringe-worthy, but the dummy’s dialogue (not to mention voice) has to be the worst part of this.

Paydin LoPachin’s performance was terrible. She was trying so hard to be an even more crazy Baby Firefly, but she didn’t display an ounce of Sherri Moon Zombie’s talent. She’s attractive, but as she had zero nude scenes, all that concerned me was her atrocious dialogue, annoying personality, and the fact she’s entirely unlikable.

Also, I love how, for some reason, LoPachin’s character never says ‘ventriloquist’ – it’s always ‘triloquist,’ because… yeah, no reason. A+++++++++ choice, amiright???????

Let’s talk about Rocky Marquette – wait, no, as he barely did anything aside from look mentally challenged, it’s not fair to comment on him one way or the other.

At least we got some good music, amiright?

That’s a joke – the music here was, again, terrible. Everything in this movie was terrible. Everything. Every little thing. Every scene, every line of dialogue (save a single line near the beginning that made me chuckle), and everything else too.

Horror-comedies that are far more focused on the comedy aspect couldn’t interest me less. A movie like Arachnophobia or Scream? That’s a perfectly balanced ratio of horror:comedy. But when a movie gets too focused on the humor, especially the idiotic humor presented here (and other movies have done it too, such as Nightmare Sisters and Seed of Chucky), I lose all interest.

Seed of Chucky was a terrible movie with very few redeeming factors. I gave it a 2/10, and that’s being generous. Triloquist had no redeeming factors. Nothing. This is one of the worst movies I have ever seen, period.


This is one of the films covered on Fight Evil’s podcast. If interested in hearing my outrage, listen below as Chucky (@ChuckyFE) and I discuss this one.

Baby Blues (2008)

Directed by Lars Jacobson [Other horror films: N/A] & Amardeep Kaleka [Other horror films: N/A]

Often considered one of the more disturbing horror films made in recent times, Baby Blues is certainly a memorable film. It may not provide the most fun you’ve had while watching a movie, but no one can say that Baby Blues is forgettable.

The story, revolving around a mother who, due to mental issues, goes after her children to kill them, is pretty disturbing. And that’s basically the movie – at around 80 minutes, there’s not a whole lot to it, but don’t let that fool you into thinking the movie’s any less tense.

I don’t know any of the actors from the film, but there wasn’t one that negatively stood out. Colleen Porch did great as the insane mother, and boy, did she ever seem like she utterly lost it. It wasn’t even clear if she realized she was killing her children, or if she thought she was simply ‘punishing’ them. Fantastic performance from her. Ridge Canipe, playing the central character and one of the kids, did a great job for a child performer. Joel Bryant and Gene Whitman also did good jobs, Whitman in particular playing a character I really liked.

There’s certainly some shocking violence in the film which goes beyond just the mother going after her children with a pitchfork. There’s multiple impalements, painful-looking cuts by butcher knife, and plenty of violence, none of it over-the-top, to keep you going. Because much of it is a mother inflicting such pain onto her children, it can be a bit much for some people, but it’s done pretty well.

This is a somewhat controversial film, and I know that there are some that are decidedly against the idea of this movie, and some even who refuse to watch it, calling it ‘tasteless.’ I’m not a mother, nor a parent of any kind, but it’s certainly everyone’s right to refuse to watch something they’ve no interest in. They’re missing out, though, because Baby Blues does a very good job with what they had, being a lower-budget, straight-to-video film, and while the content can be hard to sit through, I definitely recommend it.


And as an extra feature, a friend and I covered this on a podcast I do with Fight Evil, which you can listen to below:

And if you’re wondering, my friend Chucky (you can follow him at @ChuckyFE) is the one doing the introduction. I’m the awkward guy he’s speaking to.