Tag: 2011

Directed by Víctor Garcia [Other horror films: Return to House on Haunted Hill (2007), Arctic Predator (2010), Mirrors 2 (2010), Gallows Hill (2013), An Affair to Die For (2019), La niña de la comunión (2022)]

It should come as no surprise that I didn’t care for Revelations. I don’t know if it’s quite as bad as others tend to feel it is, but it’s definitely a long way from good, and I don’t think it’s too much a stretch to say it’s the worst film in the franchise.

No doubt Deader, the seventh movie, had some issues, such as the fact it made no sense whatsoever, whereas Revelations does tend to explain most aspects of the story. However, Deader felt more like the Hellraiser I’d come to expect up to that point, and this one, despite theoretically going back to the basics (including a Frank-like character who steals someone’s skin), I just couldn’t get into it.

Most people know the history behind this one – it was shot in eleven days because Dimension Films realized that they’d lose the rights to the Hellraiser series if they didn’t get a sequel to Hellworld out. Given the short filming schedule and rushed post-production, Revelations does feel quite cheap. That alone isn’t necessarily damning, though the fact that they apparently got down to the wire as opposed to starting months earlier and making a far better film is worthy of some contempt.

Honestly, I don’t think the story itself is that bad. There are some elements of found footage that I could personally have done without, but there’s not enough of that to scare people away, in my view. Following two preppy teens as they fall into a hedonistic nightmare, you can certainly see that portions here are reminiscent of the original Hellraiser, and I can appreciate that. It’s also true, though, that I’ve never been the biggest fan of the first Hellraiser, so though this movie may bring back the vagrant with the puzzle box, I don’t know if that does much for me.

It’s not the story here that’s problematic, though – it’s the acting. I’m not one who goes out of my way to pin issues on performances, but I really felt like some of the performances here weren’t good. It may partially be due to some awkward dialogue (paired with occasionally awful delivery), but regardless, what interest the story may have cobbled up easily got lost in the sea of poor performances.

Nick Eversman (At the Devil’s Door, Urban Explorer) had some funny pieces of dialogue (“They want to experience your flesh”), but he’s a bit much as the movie goes on. Jay Gillespie (2001 Maniacs) and Tracey Fairaway (Patchwork) have more bad moments than good, but again, some of their lesser moments can still be amusing. I didn’t have much against Steven Brand (Triassic Attack, Echoes, The Diary of Ellen Rimbauer, XII, Demons) or Sebastien Roberts, aside from their dull characters, and Devon Sorvari was more stable than Sanny van Heteren, but there’s nothing much here that I think will wow people.

Oh, and we have to talk about Doug Bradley. Naturally, he didn’t reprise his role as Pinhead in this one, and instead we got Stephan Smith Collins (though Pinhead was voiced by Fred Tatasciore, apparently). I don’t know Collins, but I didn’t care much for his portrayal of Pinhead. It wasn’t necessarily the performance as far as the characterization, which felt more malicious than need-be, but he certainly doesn’t hold a candle to Bradley.

Another thing I wanted to mention may come as no surprise. Because of the quick filming schedule for this one, I don’t think the special effects look particularly good. A few sequences are okay, but generally, the hooks looked weak, the pillars of flesh looked faker than usual, and the Cenobites – well, we only see a handful, not counting Pinhead, including a female Chatterer and a Pinhead-wannabe – looked somewhat forgettable also.

Revelations is a movie with problems. Is it as bad as the current IMDb rating of 2.7/10 purports? I don’t think so. It’s a disappointment, but I don’t think it’s quite that poor at all. However, it’s definitely not good, save the basics of the story. Some people may appreciate this for at least breaking the mold of the previous four films (Inferno, Hellseeker, Deader, and Hellworld), but personally, I’d take most of those over this one any time.

4.5/10

Directed by Scott Spiegel [Other horror films: Intruder (1989), From Dusk Till Dawn 2: Texas Blood Money (1999)]

Hostel has never been a film I considered amazing, but it’s a pretty solid film. Hostel: Part II is even better. It’s just a damn shame that Hostel: Part III is such shit.

My primary issue – actually, scratch that. I have more than one main issue, which is obviously problematic. Among them being the location switch, organization set-up, deaths, and ending.

In this film, they switched locations from Slovakia to Las Vegas, Nevada. It’s not a super gritty, dilapidated factory anymore – it’s a clean-cut room of torture with implements laid out and spaced beautifully. It doesn’t have anywhere near the atmosphere of grittiness that the Slovakia setting held, and it’s hard to take seriously.

It’s also hard to take the organization seriously. It’s the Elite Hunting Club, sure, but now it’s not just people who pay huge sums to torture people, it’s VEGAS, BABY!!!!!!!!!!! which means gambling. See, the victims are in a room with a giant glass window so the wealthy can watch them get tortured and killed, all while placing bets on how long it takes and also hoping to spin a Wheel of Misfortune.

If at this point you think this movie is a parody, I couldn’t blame you, but it’s not, God help our souls.

As for the deaths, there’s only one I sort of liked, in which a guy’s face was cut off. It didn’t look great, but it was at least brutal. Otherwise, we had a woman suffocated by cockroaches, a man who got his arm cut off (you could barely see anything, though), a guy shot via shotgun, a guy getting tased to death, a woman shot in the spine, a guy who was stabbed. There’s very little in the way of torture in this film, and though the first Hostel didn’t feature a ton of gore, it was so much better than this amateur hour.

Oh, it also did that thing I really, really, really love, where there’s some bloodshed, but the blood gets on the camera, because that’s so cool it’s like i;m actually there OMG BLOOD>>>>W>E>FW

In all seriousness, fuck that shit, brah.

The ending was terrible. There was a twist. The twist was illogical. I hated it. It sucked as much as the rest of the movie, though, so consistency, AMIRIGHT?????

As for performances, I did like seeing Kip Pardue (Sunshine from Remember the Titans, also in films such as The Wizard of Gore and Stag Night), though the character was pretty bad. It’s the same for most performances, such as the lead Brian Hallisay, and others, such as Chris Coy (Rogue River, The Culling, Deliver Us from Evil), John Hensley (Teeth, Campfire Stories), Skyler Stone, Thomas Kretschmann (2004’s Frankenstein, Dracula 3D, Discarnate, Rohtenburg, Open Grave, The Stendhal Syndrome), and Sarah Habel.

Well, to be fair, Habel’s character is okay, but at the same time, her character amounts to virtually nothing, so it doesn’t come to much.

I’ve seen Hostel: Part III once before, and I didn’t care for it then either (which I can’t imagine comes as a big shock). I wasn’t that hopeful seeing it again would lend any more pleasure, which was a good perspective, as this movie is just as poor as I remember. Pretty much an insult to the first two movies, this just isn’t a sequel I’d ever recommend. I’m sure some out there would have a fine time with it, but that’s deff not me.

4/10

Directed by Sheldon Wilson [Other horror films: Shallow Ground (2004), Kaw (2007), Screamers: The Hunting (2009), Carny (2009), Mothman (2010), Red: Werewolf Hunter (2010), Scarecrow (2013), Shark Killer (2015), The Unspoken (2015), The Hollow (2015), The Night Before Halloween (2016), Neverknock (2017), Stickman (2017), Dead in the Water (2018)]

While Killer Mountain isn’t a particularly good movie, I do have to give it credit for a somewhat unique premise. It’s still not really worth seeing, but if you do take a chance with this, at least you get some mountain action.

There’s not that many horror films that deal with mountain-climbing, so if that’s something you have a hankering for, look no further. There are some moderately suspenseful sequences here, such as a person trying to rescue someone from a helicopter hanging off a 2,000 feet drop, which was fun.

Really, what gives this movie a slightly more interesting feeling is the setting, being the Gangkhar Puensum mountain in Bhutan. To be sure, this wasn’t at all filmed there, but for an in-universe setting, it’s unique, and seeing people trying to climb a snowy peak has a nice adventurous aura to it. It helps that the dragon-like creatures are attempting to consume them, of course.

I can’t say there were many performances that really stood out. I guess that Aaron Douglas (The Monster, Blood: A Butcher’s Tale) made an okay lead. He was at least different from the generic young, pretty guy. Everyone else pretty much had the occasional moment, such as Andrew Airlie, Crystal Lowe (Wrong Turn 2 and Yeti: Curse of the Snow Demon), Paul Campbell (Severed), and Torrance Coombs, but this isn’t a movie to watch for the performances.

To be sure, I don’t think it’s a movie to watch for the dragon-like creatures either, as we’re barely able to make them out. At the same time, that might have been a wise decision, especially if the special effects wouldn’t have been up to snuff, which seems likely based on the few more creature-centrict scenes we did get. There was also a leech-type thing with quite sharp teeth, which looked disturbing, but save for one sequence, these didn’t really appear at all.

Killer Mountain wasn’t a movie I found that remarkable when I first saw it, and it’s only because it takes place on a mountain in Bhutan that I tend to remember the film. It’s not a bad watch, but it’s nowhere near stellar, and I wouldn’t personally go out of my way to see this one a third time.

5.5/10

Directed by Robby Massey [Other horror films: N/A] & Derek Mungor [Other horror films: You Are Not Alone (2014)]

Desolation Wilderness is a difficult film. On the one hand, I found it decently engaging in it’s experimental, somewhat free-form style, but on the other, it’s hard to get a feel on the conclusion, especially as it doesn’t feel much like a conclusion.

Which I’m sure is partially the point, or perhaps not, as the film may not have wanted to make any point. The base story is solid – two friends go to a secluded cabin to record an album, and slowly things deteriorate (be it reality, mental stability, who can say?), and come the final 15 minutes or so, some things happen.

It’s obviously not a conventional movie, which I rather dug early on – the friends driving up to the cabin was a pretty intriguing sequence in some ways (with great cinematography). Also worth mentioning, most of the film is black-and-white, save for the final ten minutes, which is color. As to whether that signifies something, I couldn’t say, but I can only imagine the film lends itself to a lot of interpretations, which, to quote the Vimeo page for the movie (which may not even be up anymore, so I’m happy I saved this quote), seems to be the point:

“Robby Massey and Derek Mungor conceived of a picture, which wouldn’t present the viewers of its ideas, but invite them to develop their own based wholly on their subjective experiences. Aided by Ralph Jimenez and Darren Orlowski, they approached each sequence in the picture both with an open mind — ready for improvisation and direction based on feeling — and a careful attention to detail — making each choice carefully as to not reveal too much of a discernible theory. Robby Massey and Derek Mungor’s respective theories, in fact, were purposely not revealed to the other until well after the picture was finished — a choice made to insure true misdirections and no solid through-line. (The true through-line, as it is, possibly will never be revealed.)”

No doubt such an approach to a film is fascinating, and Desolation Wilderness is a unique experience, but because so much is left to interpretation, there’s a decent amount about the finale that’s incoherent. I get it – creative expression – and again, I’m not really the intended audience for movies of a more experimental bent – but I would be lying if I said that I didn’t want something – one thing – to be a bit more clear-cut.

Most of the creepiest things in the film don’t pop up until pretty late. You do have what I believe to be a leech early on, and there are some unsettling moments here and there (bolstered by somewhat awkward conversations at different times), but the creepiest stuff, including some messed up television programming, comes in at the end. There’s also some elements of what I take as mental deterioration – the two of them at one point don’t know when the last time they ate or sleep, nor how long they’ve been there – and I dug that.

Personally, it’s a hard movie to truly get a handle on. I appreciated it a lot more than many other more experiment films (ones that come immediately to mind include Eraserhead and Multiple Maniacs), and I thought both Robby Massey and Derek Mungor did a great job, and it gives you something to chew over, but I don’t know if it’s necessarily something I’d enjoy watching again.

What I can say is that Desolation Wilderness is a unique film, and I’d recommend it to people who want something more atypical. I can’t say that it’d appeal to conventional horror movie fans, and I can’t even say this was intended as a horror movie, but it’s definitely something different.

5.5/10

Directed by Kristine Hipps [Other horror films: The Monument (2005)]

Coming to us from Colorado, You’re Not Getting Out Alive is a rather low-budget horror comedy. Like many lower-budget films, some of the special effects can be questionable, but what’s not in question is that this movie has a lot of heart. I enjoyed most of the performances, the story, and overall, no matter what the budget was, this was a lot of fun.

Of course, I’ve always held a healthy respect for independent horror. Even if the movie isn’t great (such as Camp Hideaway Massacre or Curse of Halloween), you have to respect everyone involved for doing their best and trying to pull a movie together without the bottomless well of money that Hollywood can dole out. As such, some of the better lower-budget horror, such as Silver Cell (2011), The Horrible 4 (2010), Clownz R Us, and Vampire Ticks from Outer Space, deserve as much accolades as possible, and this movie is no different.

So many of the performances were great, but before I can even touch on that, I wanted to speak briefly about how amusing the story here was. To be sure, it’s not abnormal as far as slashers go – a group of people are killed by a mysterious killer in a rural location – but what allows this to be more is the fact these people are actors in a low-budget play. The play itself is hilarious – written by a stoner director, the title is “Southern Greens: The Story of the Civil War Stoner.” This stuff is comedy gold.

Aside from the director and assistant director of the play, the seven central characters are actors in the play, and are introduced to us via their auditions to be cast in the play. Some of these auditions are decent, and what you might expect, but some are damn funny, such as Toby’s ridiculous hand-puppet skit, Misty’s piece from Memoirs of a Confederate Jezebel (“Papa? Is that you, papa? I cannot see you for the tears in my eyes and the blindness”), or Ellis performing a piece from Julian Caesar: The Musical. These performances are great, and this is a comedy horror I can get behind.

There are a few performances that don’t stand out that well, but that’s only because some of them here are just so wildly fun. Though James O’Hagan Murphy, Patrick Mann, and Krista Rayne Reckner have a harder time being remembered, I really don’t think that takes away from what they brought into the movie, especially since Reckner’s character of Misty was legit funny at times.

Taking it from the top, though, we have Michael Kennedy, playing the stoner director. This guy, though maybe too stereotypical in his caricature, cracked me up. His play about marijuana saving the Union was great, and possessed some quality lines, such as “I propose a toast to Southern victory and the marijuana plant,” and a bit about “sucking on” someone’s “bubbling pipe” (being a bong, but it’s entirely possible his character didn’t get the sexual innuendo). I loved his character, and Kennedy did a great job with it.

Playing his assistant director was Dawn Bower, who was high-strung and the exact opposite of the laid-back, stoner director. Her character could be curt at times, but I thought she was a lot of fun. And speaking of fun, there’s David William Murray Fisher, who played Ellis, a rather flamboyant gay guy, who was great, and he worked well with Duane Brown, who played Toby. Brown brought a decent amount of humor too, so kudos.

Linda Swanson Brown was pretty perfect as the straight final girl. Not too quirky, but not without personality, she did really well in her role, and playing an entirely different role, Jillann Tafel was amazing. Playing an older actress past her prime, and always drinking, she had a lot of funny lines (“I once took it in the caboose from Benny Hill. That’s how I got my union card,” and “Isn’t she Miss Sunny Tits?”).

You’re Not Getting Out Alive is a funny movie. It’s not over-the-top, like The Stripper Ripper – once bodies start piling up, most of the jokes and banter stop – but for the first forty minutes, there is a lot of fun to be had with this movie.

Of course, the kills aren’t great here. There is a decapitated head that pops up (obviously a dummy head), and there are a few stabbings and bit of bloodshed, but this slasher is more focused on the characters and story (and on a related note, while the story isn’t great, I do think it handles some foreshadowing pretty well) than it is on kills, which works to it’s benefit given the budgetary constraints.

I really like this movie. For whatever budget they had to work with, they did a great job (and provided some amusing outtakes during the credits), and for low-budget horror comedy, I think this movie definitely does what it sets out to do, and fans of independent horror should endeavor to give this one a look.

8/10

Directed by Elise Robertson [Other horror films: N/A]

This is one of those slashers that I saw some years back, found almost entirely forgettable, and thus promptly forgot, and then moved on. Seeing it again and remembering only the basic scenes from it really showed just how unremarkable this film was, and that’s a feeling that I think resonates today.

It’s not Donner Pass is a necessarily terrible movie, because it has the basic staples that you’d expect from a slasher movie. Hell, there’s even a kill that’s almost worth it. The problem is that there’s not much in the way of on-screen kills, and the addition of cannibalism (à la George Donner and the infamous history of the Donner Pass) leads to some story ideas that don’t fly wit Jiggy. I’m not saying the movie doesn’t hit enough spots to be called a competent slasher, but it definitely falls flat of good.

No one shines from the cast. Erik Stocklin is easily the most sympathetic, but the route his character takes isn’t in any form surprising. Desiree Hall was decent, and I liked her character well enough, but Colley Bailey, who played her boyfriend, was rather spineless and unlikable throughout. Bailey also appeared in likewise unmemorable slasher Madison County, on a side-note.

With as unlikable as Bailey’s character was, though, of course they have to up the ante and give us Dominic DeVore’s character. To be fair, his story, especially regarding his girlfriend, played by Adelaide Kane, was sort of unique. I think it was thrown in only to give the movie ten more minutes to play with, but credit where credit is due. Speaking of credit, Kane (who played the daughter in The Purge) was great as a bitchy, unlikable piece of trash, so kudos to her for a quality performance.

It’s never easy to really get into a slasher wherein a bunch of unlikable or uninteresting characters are killed. Well, it can be easy, if the gore is top-notch, but that’s not at all the case in Donner Pass. Really, aside from pulling in ideas from history, there’s not much here to really warrant a look. It’s not an exceptionally poor movie, though. Just sorta there, and that’s admittedly damning enough.

5/10

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

Directed by Adam Gierasch [Other horror films: Autopsy (2008), Night of the Demons (2009), Tales of Halloween (2015, segment ‘Trick’), House by the Lake (2017)]

I feel like Fertile Ground had potential, but it really didn’t work, and generally, I thought the story here was pretty weak, and ended up feeling a bit hollow.

Which is a shame, because given this movie follows a young woman who has had a recent miscarriage, it really shouldn’t come across as soulless as it did. Partly I feel it has to do with a somewhat undeveloped plot, and the movie just becomes forgettable after a while.

It also feels somewhat cheap, especially with those segment names (such as ‘The Gathering,’ or ‘Moving In,’ or ‘Strange Happenings’) – I don’t get why they named the segments when it was pretty obvious from what was shown on screen that, for instance, they were moving in, or that, later on, there was a gathering of friends. I didn’t get the point, and it just struck me as amateurish.

Another small thing, and certainly this is one of the lesser offenses of this I’ve seen, but there was a short scene from Night of the Living Dead here played on television that a character’s watching. I understand the movie’s in public domain, but if you watch lower-budget horror, you’d think Romero’s classic is the only horror movie that’s played on television. Just a pet peeve of mine.

I don’t really want to take away from Leisha Hailey’s performance. I don’t think she did a great job, mind, but I thought there were far bigger problems than somewhat sub-standard acting (and to be fair, there were a few really solid scenes she gave). Gale Harold (who consistently reminded me of Mark Ruffalo for some reason) was decent at times, but I don’t think we ever learned enough about him to make him that interesting a character.

Movies that deal with a couple moving into a remote country house and finding that either some supernatural haunting or mental instability is afoot is nothing new. This throws in the miscarriage angle, but that didn’t really amount to much, especially, as I said, since this movie feels more hollow than anything.

For a small piece of amusing trivia, I actually saw Fertile Ground once before. I can’t remember how long ago, nor the circumstances (aside from that I think I saw it on Chiller). It was so long ago, though, that I literally remembered nothing from this one. To me, it’s always sort of funny when you’re watching a movie you know you’ve seen before but remember so little of it.

After revisiting this one, though, and given how generic many portions seem to be (especially regarding JoNell Kennedy’s character route), I can certainly see why it didn’t stick with me. Not an awful film, but definitely not a memorable one, and I wouldn’t really recommend it.

4.5/10

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

Directed by Robert Hall [Other horror films: Laid to Rest (2009), Fear Clinic (2014)]

Well, the first Laid to Rest wasn’t amazing, but it did enough to keep the movie memorable. This movie had the gore that you might hope for, but the story wasn’t that great whatsoever.

I don’t care for organizations of killers, so when we find out Chromeskull has backers and a small group of people working for him, my interest in this sequel went down to about zero. Make no mistake, the gore is decently solid, and there were some rather gruesome scenes here (such as the face reconstruction at the beginning), but unlike the first movie, which had a story that fit with the killer, this one threw in elements I didn’t care for at all.

Honestly, that’s about all I have. The gore was fine, but I didn’t like much about the story. Few characters really stood out, and I thought the post-credit scene (starring the Wife of Chromeskull) was just pointless, bordering on idiotic.

The first movie isn’t great, but I think it far surpasses this one, and I probably wouldn’t recommend this one to anyone. It’s not even a particularly poor movie, but I didn’t care for the story, and no amount of gore can make up for that.

5/10

This is one of the films covered on Fight Evil’s podcast. If you want to hear Chucky (@ChuckyFE) and I discuss this one, please listen below.

Directed by Griff Furst [Other horror films: I Am Omega (2007), Wolvesbayne (2009), 30 Days to Die (2009), Lake Placid 3 (2010), Maskerade (2011), Arachnoquake (2012), Ghost Shark (2013), Ragin Cajun Redneck Gators (2013), Starve (2014), Cold Moon (2016), Trailer Park Shark (2017), Nightmare Shark (2018)]

I first saw this some years back during an October Challenge I took part in. As such, I barely remembered any of the specifics, and the movie came across as new, which is probably a good thing, as overall, aside from a somewhat fun cast, this is the normal, sub-par Syfy fare.

It’s some of the performances here that give the movie’s otherwise stilted story and terrible effects more heart than it should. None of them are names I particularly know, but Kristy Swanson (who was in Deadly Friend back in 1986, along with Flowers in the Attic in 1987), Jeff Chase, and D.B. Sweeney all bring a little something to the table. For eye-candy, you have Ashton Leigh (who was in later Syfy films such as American Horror House, Ozark Sharks, and Mississippi River Sharks) and Sophie Sinise (honestly, she actually does pretty good, so she’s definitely more than just ‘eye-candy’). Jason Rogel’s character doesn’t have the character arc I was hoping for, and as much as I tried, I couldn’t see Robert Davi as anything other than a cheap Tommy Lee Jones clone.

So, as one can see, there’s a lot of performances here that, at the very least, stand-out, which is a good thing, given that every other thing the movie does is somewhat laughable.

Really, it’s the special effects that are the worst, though – just look at the scene where the shark jumps up and rips the guy’s head off. The unfortunate thing is that it was probably one of the few scenes of note in the film. I have to give it to the story writers that they did come up with an interesting way to finally kill off the shark (as ridiculous as it is), but that Jaws-inspired scene, I could have done without. The movie’s titled ‘Swamp Shark,’ for God’s sake, it’s not going to be anywhere near Jaws’ level.

Compared to other Syfy shark films, Swamp Shark might actually be a little better, if only because I sort of had a fun time with the group of characters going shark-hunting, and the whole ‘we have to hunt down this shark to save our restaurant’ theme they had going for it. It’s still a below average film, and although I don’t remember how I felt about this one the first time through, it’s one of those movies that I think’s okay, ultimately, but I wouldn’t go out of my way to find again.

6/10

Directed by Douglas Aarniokoski [Other horror films: Animals (2008), Nurse 3-D (2013)]

This post-apocalyptic flick is a lot of fun (despite the despair of the characters), packed with great gore and action.

Shawn Ashmore, who I mostly recognize from playing Bobby Drake (Iceman) in X2, was an interesting casting choice to lead a band of individuals intent on surviving in a hostile post-apocalyptic environment. It works well, though, and everyone else does pretty good also, from Ashley Bell, who is a total badass, to Cory Hardrict, who, despite being sick, is a damn fun character.

It’s not a fun environment, though. The movie is ultimately very bleak, and that’s demonstrated more so by the very faded color palette used. During flashbacks, the world is colorful and vibrant, full of life, but for most of the movie, the palette is so faded, it almost seems black-and-white, which is an effect that I really liked. That, along with the total brutality of the film (kids get shot and decapitated – say whatever you want, but too few horror films cross that ‘taboo’) shows the desperation of the characters in the film.

Honestly, I can’t think of any big problems I had with the film. The final showdown, taking up the last thirty minutes of the film, was damn brutal, and I loved every second of it. Sure, some of the characters weren’t exactly the best people, but in a post-apocalyptic universe like this, who could blame them?

And on that note, I loved how, unlike many post-apocalyptic films, the antagonists aren’t zombies, or the infected population, or anything of the sort. They’re just other humans, intent on survival also, only willing to go a bit further than most (I’m talking cannibalism). It reminded me a little of Tooth and Nail (2007), though I think the cannibals were more human here. To be honest, I abhorred Tooth and Nail, but it’s been years since I’ve seen it, so maybe it’s not fair to fully comment on it.

I will fully comment on this, though, since I finished it just ten minutes ago at the time of this writing. The Day is a fun, gory, gloomy film. With both strong action and strong gore, I don’t see why there aren’t more enthusiastic reviews about this one out. It has a tepid 5.2/10 on IMDb, and that is something I don’t get. I saw this before, and was afraid that it wouldn’t hold up, but I’m happy to report that it did. A very strong movie, and definitely one that I’d not only watch a third time, but actually purchase.

8.5/10