Directed by Jeff Woolnough [Other horror films: Strange Frequency 2 (2002), The House Next Door (2006)]
Known best as just Lost Souls (if it’s known at all), this television movie didn’t reinvent the wheel, but in it’s low-budget tackling of a somewhat common story, I found the movie quite serviceable.
Now, I saw this once before many years back, and about the only thing I remembered was the conclusion, so I didn’t get to relive the surprise, but even so, I like how the film focuses on the mystery of unsolved murders and throws multiple suspects out at us, many of them feeling like real possibilities. The idea of supernatural forces from beyond the grave helping people solve an old murder isn’t new, but it was done well, and with feeling.
Communicating through an autistic girl was a nice touch, because both parents here (played by John Savage and Barbara Sukowa) got to see their daughter do more than she’s been able to do (such as sing), and though it’s just a cheap television flick, I still liked that this had heart.
On that note, the horror here isn’t nearly what many fans might be looking for. It might even feel more like a supernatural drama at times, but when you throw in mystery and the decently suspenseful conclusion, I don’t see why all that many people would have an issue seeing this as a horror film, light as it might be.
John Savage is a bigger name, though I’ve only seen him in a handful of low-budget horror movies (such as The Attic). He does pretty well here, and I love the lengths he goes through to both figure out the answer to the old crime and protect his family. His wife, played by Barbara Sukowa, didn’t nearly interest me as much, but both children (Nick Deigman and Laura Harling) are solid, with Harling’s performance perhaps being the best. Richard Lintern was pretty good too.
Nightworld: Lost Souls isn’t anything that special, but I find myself enjoying it more than expected. I definitely liked it the first time I saw this, and it’s pretty much had the same impact on me this time around. It’s not stellar as far as made-for-television horror goes, but hell, I liked it. Sue me, brahs.
8/10
This is one of the many films covered on Fight Evil’s podcast. Listen below as Chucky (@ChuckyFE) and I discuss this movie.
Directed by Ed Hunt [Other horror films: Point of No Return (1976), Bloody Birthday (1981), Halloween Hell (2014)]
I wasn’t really expecting to enjoy this film all that much (despite the fact that it’s long sat in a ‘want-to-see’ list of mine), but while I didn’t absolutely love it, The Brain was still a decently fun and enjoyable film, and not nearly as goofy as one might think.
It’s hard to say exactly why the film works better than expected. The story itself is somewhat interesting, true, and most of the main performances are competent, but even so, it lacks that flair that’d truly make it amazing. The fact that the film takes itself more seriously probably goes a long way to explain why I personally enjoyed it more than I initially thought I would, so there’s that.
Tom Bresnahan does well as the sympathetic main character, and Cynthia Preston, playing his girlfriend, does pretty good also. Preston, on a side-note, later appeared in Prom Night III: The Last Kiss, which I’ve yet to see, but thought it was worth mentioning. Otherwise, she’s not done that much for the genre. David Gale, however, well-known for his role in Re-Animator and Bride of Re-Animator, has both done a bit more for the horror genre, and more so, does pretty memorably in The Brain (though toward the end, his plot sort of runs thin). As a threatening presence, George Buza puts up a good performance.
There were a few issues I had toward the conclusion of the film regarding main character Jim’s actions, such as approaching his mother (in hopes, I guess, that she hadn’t been brainwashed somehow), something like ten minutes after criticizing another character for wanting to do the same thing. I was sort of expecting a Halloween III: Season of the Witch twist with Preston’s character, but one was never even hinted at, which felt off. Lastly, I got a slight sense that things were a bit anticlimactic, and while I sort of liked the final scene, it definitely threw me off-guard.
Where The Brain really shines is in their psychedelic hallucination sequences. The one that opens the movie is fantastic, and there are a few throughout the film that really show promise. In a way, it felt like watching some of the more trippy dreams from A Nightmare on Elm Street. It gives a very ‘what the hell am I watching’ feel to the film.
Overall, I don’t think The Brain is amazing, but I do think it’s a pretty fun slice of wild, 80’s horror, and probably worth at least one look-see, because I think that this would make quite a few fans of the genre reasonably happy.
7/10
This was covered on Fight Evil’s podcast, so if interested, listen to Chucky (@ChuckyFE) and I discuss this below.
Directed by Joseph Ruben [Other horror films: Dreamscape (1984), The Good Son (1993)]
I might not be surprising anyone when I admit to being a big fan of this movie. Both my my banner here, along with my signature on HorrorMovieFans.com, use a ‘Who am I here?’ image of the movie, and perhaps more than any other movie (aside from maybe Burnt Offerings), I wear the fact that I love this one on my sleeve for all to see.
And I don’t feel a bit ashamed.
I’m not going as far as to say this movie’s perfect, but I will say that Terry O’Quinn’s performance is without flaw. I love the idea of an insane man trying to encapsulate the perfect, Leave It to Beaver family unit, only to undoubtedly become disappointed, kill them, and start over again. He tries his best to create the picture-perfect family, one without discord, one with strong traditional values, but he’s never able to, no matter how wistfully he looks at other seemingly-happy families.
O’Quinn’s performance here is fantastic. He seems a clean-cut guy, whistling and shaving while the bodies of his discarded wife and kid are sprawled on the floor. He can’t take much in the way of criticism (just look at the house showing sequence with Charles Lanyer), and he’s corny as all hell (‘I sell the American Dream’), but he’s also pretty intimidating. When he’s having his mini-breakdown in the basement (unknowingly in front of his shocked step-daughter, Jill Schoelen), he’s obviously furious and mentally unstable (at the mere thought of his happy world crumbling down), and god, that breakdown at the end, resulting in the ‘Who am I here,’ line?
Perfection.
Really, the only character here that didn’t really blow me away was Jim, played by Stephen Shellen, whose main mission in the movie was to find the killer of his sister and bring him to justice. He certainly had a solid motive, but I don’t know if his scenes add all that much to the film (though certainly, without his persistence of getting the story of the murder ran again, there wouldn’t have been a story to begin with). He was still a decent character, and I felt bad for him throughout, but he was the least interesting individual here.
I sort of wished Jeff Schultz was more involved in the story, but after attempting to rape Schoelen’s character, I can see why he stepped out. 😛 Charles Lanyer, playing Schoelen’s therapist, was very solid, and when she said that her step-father scared her, you could tell he was devoted to helping her out, and boy, did he go the extra mile for her (speaking of which, when Jerry’s beating the guy with a four-by-two, talk about a solid sequence). Shelley Hack was decent as the mother, and she shared a touching moment or two with her daughter, but she was far from a crucial player here.
Once we move past O’Quinn, Jill Schoelen is the second-best performance here. She’s a troubled girl in a bad situation with almost no one on her side (her therapist being the one exception, and when she’s told that he died, you can’t help but feel for her), but she finds the strength to fight back, and it’s just solid stuff. It didn’t hurt they threw in a bit of nudity for some reason, but what the hell, it was welcomed. Even without that, she was a stand-out character, and it’s great to see her finally be vindicated come the end.
Related, she has a somewhat solid resume of horror films, such as the somewhat underrated Popcorn, co-starred in the 1989 Phantom of the Opera with Robert Englund, along with appearing in Curse II: The Bite, Cutting Class, Chiller, and When a Stranger Calls Back. She never seemed to reach A-list status, but she certainly had her fans, and though I’ve not yet seen many of her other movies, I suspect this was one of her finest roles.
Personally, I don’t know exactly why I love this one as much as I do. At times, I can’t deny that this feels more like a television movie than one that got theatrical release, because it can be a bit tame, and perhaps sluggish, but I still adore every second of it (and like I said, the ending as a whole is spectacular). The idea of a disappointed father quitting his job, scoping out a new family, then killing his existing family in order to move on was engaging, and I sort of wonder how many times Jerry’s done that before (I suspect the opening to the film was not his first infraction). In fact, much of Jerry’s history is uncovered, which only intensifies the mystery (aside from the fact he had a self-admitted strict upbringing, we’ve got nothing).
The Stepfather is a movie of high value, and certainly a movie that I’ve always enjoyed, and always will. All we need is a little order around here, and this movie brings it.
9/10
This is one of the films covered on Fight Evil’s podcast, so listen to Chucky (@ChuckyFE) and I discuss this one below.
Directed by David Cronenberg [Other horror films: Shivers (1975), Rabid (1977), Scanners (1981), Videodrome (1983), The Dead Zone (1983), The Fly (1986), Dead Ringers (1988), Naked Lunch (1991), eXistenZ (1999), Crimes of the Future (2022), The Shrouds (2024)]
I’ve seen this Cronenberg film once before, and it wasn’t quite my thing. That didn’t really surprise me, as I was similarly lukewarm toward Videodrome (despite it’s classic status). I’ve not yet seen many of Cronenberg’s other movies, but only one (Shivers, or They Come from Within) was something I actually liked.
All this said, I enjoyed The Brood a little bit more than when I first saw it. It still seems all over the place, and doesn’t quite get close to reaching an average rating from me, but it’s still an unique experience that’s perhaps worth seeing at least one time around.
At times, the story here seems muddled, and it’s not always clear where exactly the plot is going. At first, I thought there was going to be a big issue made of the grandmother abusing Frank’s (Art Hindle) daughter, but instead, the old woman gets killed by a mutant child, who then kills another character, and eventually kidnaps the daughter herself. All this is going on while Hindle’s character is investigating a controversial therapy method that his wife is undergoing, and it doesn’t necessarily seem to all fit together, even by the ending.
As far as the performances go, Art Hindle (Invasion of the Body Snatchers, Saint Sinner) is okay as the lead. I think that psychologist Oliver Reed (Burnt Offerings, The Curse of the Werewolf, Spasms, Paranoiac, Severed Ties, The Shuttered Room) made more an impression, but I wasn’t moved much by Samantha Eggar (The Dead Are Alive, Demonoid, A Name for Evil, Curtains, All the Kind Strangers) whatsoever (even during the somewhat surprising, not to mention bizarre, finale). Susan Hogan (Phobia) played a nice character addition, but aside from a solid death sequence, she wasn’t that relevant to the story.
I think a surprising stand-out, as far as performances go, is Henry Beckman. There’s a scene in which he’s drinking and reminiscing about his recently deceased ex-wife. That was somewhat emotional in itself, but the conclusion of that scene just ensures it’s one of the better sequences in the film.
There were some aspects I liked about this movie. Hindle’s character encounters a mutant child-type thing, and informs the police, who actually proceed to have an actual useful autopsy on it, which points out what an odd mutation this kid is. Just seeing the authorities actually having no choice but to believe a bizarre claim is a nice change of pace, though ultimately, I don’t think it really leads anywhere.
The conclusion itself is decently suspenseful, regardless of the fact I didn’t much care for where the story went. I wouldn’t go as far as to say the ending validates the rest of the movie, or makes it worth watching alone, but it’s solid. Even so, the whole of the movie doesn’t impress me (a big part of this, aside from the flaws in the story, stem from the fact I’m really not a fan of body horror), and while I did enjoy it more this time around, I doubt that I’ll grow much fonder of this one down the line.
6/10
This is one of the film’s covered on Fight Evil’s podcast. If you’re at all interested in the hidden mysteries of the world, listen below as Chucky (@ChuckyFE) and I discuss this film.
Directed by Maurice Devereaux [Other horror films: Blood Symbol (1992), Lady of the Lake (1998), Maléfices (1998), Slashers (2001)]
I saw this flick many years ago when the Chiller channel was still a thing, and got a rather large kick out of it. Flash-forward five years, if not longer, and the film still stands out strong, despite the somewhat low-budget feel and unknown actors and actresses.
For what they were, most of these performances were decent. Main characters played by Ilona Elkin and Nicolas Wright do well together, and have decent chemistry. Emily Shelton was both cute and highly effective with weaponry, so she’s a keeper. Nina Fillis did well with her conflicted role, Neil Napier was decent, though I sort of wished he did a bit more, and Robin Wilcock was great as a scummy, religious, would-be rapist.
What really makes End of the Line transcend budgetary concerns is the frightening realism of the plot. Religion is still very much prevalent in the USA, and the idea of an insane religious cult with significant membership deciding to go on a killing spree to ‘save souls’ is not outside the realm of possibility. Religious beliefs on their own are questionable enough, but when religious beliefs hit this level of fundamentalism, it’s damned dangerous.
The cult, named Voice of Eternal Hope, is damn terrifying, as all these seemingly clean-cut men and women, not to mention indoctrinated children, brandish daggers in the shape of the cross in order to massacre those who don’t share the same faith (or even those in the same cult who’ve lost faith in the mission) mercilessly, singing hymns and smiling while doing so, are definitely creepy. Because of their insane bloodlust, there’s some decent gore in the film, and while that’s not really the focus or most interesting thing about End of the Line, it certainly does help on occasion.
Related, there are some very solid scares in the film. Some are are bit much, but I will admit that the first few scares in the film really got to me, and definitely helped set up a creepy and somewhat ominous feel to End of the Line.
Pretty much from beginning to end, the movie moves at an acceptably quick pace. There are some questionable dialogue pieces toward the beginning, and a few things aren’t necessarily made clear (especially regarding the reality of the ongoing situation, and whether or not the muffins alluded to were directly related to anything), but some of the confusion and uncertainty only makes sense in such a chaotic scenario.
End of the Line is a very acceptable movie, and there’s a lot going for it that allows it to stand out of the crowd of post-2005 low-budget horror flicks, many of which are decent, but a far larger number of which are around average to far below average. End of the Line isn’t by any means an amazing movie, but it does stand up to my rather appreciative memory of it, and I certainly recommend it to fans of slashers or films revolving around insane cults.
8/10
This is one of the films reviewed on Fight Evil’s podcast, so if interested, listen to Chucky (@ChuckyFE) and I discuss this one.
Directed by James Wan [Other horror films: Stygian (2000), Saw (2004), Dead Silence (2007), The Conjuring (2013), Insidious: Chapter 2 (2013), The Conjuring 2 (2016), Malignant (2021)]
Well, at least there were some super scary jump scares, so I guess the movie’s not all a waste, right?
As it is, this is a film I had little interest in for quite some time, which is partially why it took nine years after it was released for me to actually watch it, and the sad thing is, even with that in mind, I still found the movie rather disappointing.
It’s not as though Insidious is an overly horrible film, though – I can certainly see why mainstream audiences might be enthralled by it. As for fans of the horror genre, though, I guess that I failed to see what’s so impressive about it. Jump scare after jump scare with ‘scary’ music to make the jump scares scarier and OMG another jump scare help me I’m scared
Obviously, this movie hit the right spots for some people, and I’ll certainly say that elements are pretty solid (such as the subtler approach to horror in a few scenes), and the plot itself is decently interesting. Even the end, when Patrick Wilson’s character goes into The Further, I was fine with it. I sort of liked the almost A Nightmare on Elm Street vibe of the Red-faced demon’s chamber, what with him sharpening his claws to Tiny Tim’s dulcet tones.
I saw (and I suspect it’s the same for most) the twist behind Wilson’s character a mile away, and the ending just didn’t impress me whatsoever. It felt so damn Hollywood, and didn’t do anything to at all to help end the film on a more positive note.
The principle cast is all fine. Patrick Wilson (of classics such as Hard Candy and The Conjuring) did pretty solidly, and everyone else, including Rose Byrne, Lin Shaye (who I amazingly still recognized from the 1984 aforementioned classic, A Nightmare on Elm Street, along with the more recent 2003 Dead End), and Barbara Hershey, did well also, though none of the three blew me away. Leigh Whannell (of Saw fame) was nice to see, but the brand of humor he and his cohort Angus Sampson brought to the film didn’t do it for me.
All-in-all, I’m not really surprised that Insidious didn’t impress me. In the past, I’ve heard it compared positively with Paranormal Activity, which is a film I utterly hated. I get how Insidious could impress some people, and obviously if it’s your type of film, by all means, enjoy it. I will admit it had potential with the story. But that ending was Hollywood tripe (and in fact, it’s not altogether removed from what you’d see on Syfy), and while I appreciate portions of the film, this isn’t one I plan on watching again for at least twenty years.
5.5/10
This is one of the films discussed on Fight Evil’s podcast. If interested in hearing Chucky (@ChuckyFE) and I talk this one over, look no further.
Directed by George Mihalka [Other horror films: The Blue Man (1985), Psychic (1991), Relative Fear (1994)]
What’s the best slasher ever made?
I’ll save you time, and just admit it’s Halloween, which is a spectacular flick. But what’s the second-best slasher ever made? Well, say no more, because it’s My Bloody Valentine.
Truthfully, I don’t know exactly why I love this movie as much as I do. I mean, I love all the performances, I think the story’s fantastic, the killer’s interesting, the theme track very enjoyable, the kills amazing, the setting is great and everything else is flawless, but as for specifics, it’s difficult.
Let’s spend a few minutes (INB4ITSHOURS) on the performances. Here’s a list of those who stood out: Don Francks (as sheriff, very solid and memorable performance), Keith Knight (Hollis is perhaps one of my favorite characters from a slasher film), Neil Affleck (Axel is pretty fun all-around), Lori Hallier (‘Sarah, be my bloody valentine’), Paul Kelman (T.J. is a solid mystery here), Alf Humphreys (good comic relief in a believable way), Cynthia Dale (really loved her character here, plus she’s Hollis’ girl, so you know she’s fun), Rob Stein (very memorable look), and his girl Helene Udy.
What works here is that all of these characters feel like they live in a small town where most men work in the mines and the girls wait for them to get out and go out to drink. This movie feels incredibly real to me, and while it’s somewhat odd how some of the girls dress more like it’s the 1950’s than the early 80’s, it doesn’t really do anything to impact my view on this. I love the small-town mentality, where everyone knows everyone, and these teenagers really pulled it off, not to mention Don Francks (the sheriff Newby), Larry Reynolds (the mayor), and Patricia Hamilton.
The design of the killer is just amazing. It’s simple, what with a mining suit and a pickaxe, but it’s damn effective, and one of my favorite scenes in the annals of horror is when the killer is walking through the mine, smashing his pickaxe into the hanging lights. The characters can’t see him, but they hear the lights breaking, and it’s just amazingly great. Plus, he writes killer rhymes (‘It happened once. It happened twice. Cancel the dance or it’ll happen thrice’).
Many bring up the song from Madman, but I think, without a doubt, ‘The Ballad of Harry Warden‘ blows it away. The song’s good lyrically and musically, and fits beautifully into the credits following the insane laughter of the killer. It’s on my iTunes, so it’s not good just for the movie or for horror-themed songs, but for any occasion.
If you watch the film with the cuts in, you’ll probably have an okay time, but if you get the uncut version, then you really have a lot of fun. A guy has his head boiled while he’s held down. A woman is struck by a pickaxe and thrown into a dryer. A girl is impaled on a shower-head. A double-impalement by a drill. Nailgun to the head and hung as so the body detaches. And a favorite of mine, a man pickaxed through the face, causing an eye to hang out (you know the MPAA took that one out before you could say ‘there should be no MPAA’). God, this is solid gore, and it’s a shame that the movie’s existed so long without the uncut scenes, as many people who see the cut version won’t realize how solid this stuff is. I’ve watched the cut version once, and like I said, it’s still a good movie, but seeing the gore in whole just completes the good times.
Like I said, I really like the setting of My Bloody Valentine. It’s a small town (named Valentine Bluffs – who couldn’t love that?) with a main industry of mining. Few are going to college after high school – they’re going to the mines, and those who do try to get out just end up back home (poor T.J. – I always wondered what mistakes he made out west). But was Hollis particularly sad about his fortune? Not so much, nor was Axel, nor do any of the characters seem particularly disheartened. The bar is always lively (despite the grumpy bartender, appropriately named Happy and played brilliantly by Jack Van Evera, who died just the following year), and even the junkyard is a place to just chill. I love the vibe here, and though it’s entirely different from my experience growing up, I find it somehow relatable.
Without a doubt, My Bloody Valentine is one of my favorite horror movies. There’s nothing I don’t like about it, and I watched it something like three times in the first week I bought it. It has everything I look for in a slasher, including an interesting mystery (with some red herrings thrown in), a great atmosphere, a very memorable setting (being stalked in a mine has never been done so well), lovable characters (Hollis and Patty), and all-in-all, My Bloody Valentine never fails to impress me.
10/10
And to hear my gush about the film, look no futher than Fight Evil’s podcast, where Chucky (@ChuckyFE) and I spoke about the film.
Directed by Jerome Sable [Other horror films: ABCs of Death 2 (2014, segment ‘V is for Vacation’)]
I’ve seen Stage Fright twice now, and while I wish I liked this horror-musical more, I ultimately find it far more generic and disappointing than anything.
The cast is fine. Douglas Smith didn’t get as much characterization as I would have liked, but Allie MacDonald was pretty decent. Meat Loaf was just okay, and Brandon Uranowitz did well with a really terrible character. And don’t get me started on Melanie Leishman’s character, who I hated with a passion.
Only two songs are really worth listening to on repeat, being the opening ‘Where We Belong’ and ‘The Show Must Go On,’ which is disappointing as there was certainly room for more catchy songs throughout the film. I don’t particularly love Repo! The Genetic Opera, but in terms of songs, that blows Stage Fright out of the water.
Related, not many of the kills did that much for me, and in fact, off the top of my head, though I watched this for the second time not that long ago, I’m failing to remember any kills that stuck with me. Maybe in the moment, some of the kills are solid, but this isn’t some new-age slasher classic whatsoever.
A musical-slasher sounds like it would be so fun, and it really could be if handled differently, but as sleek as Stage Fright looks, it doesn’t really deliver near as many catchy songs or bloody deaths as you might hope, and ultimately, while it’s okay for a single watch, I wouldn’t really go back to this one a third time.
6/10
As this was covered on Fight Evil’s podcast, you can listen to Chucky (@ChuckyFE) and I discuss it here.
Directed by John Fawcett [Other horror films: The Dark (2005)]
When all is said and done, this modern-age werewolf tale is tragic. Two sisters must confront something entirely outside of their control, and though once close beyond measure, they become ripped apart by unwanted transformations (both puberty and lycanthropism).
I truly believe this is one of the saddest horror films out there, because I completely buy Emily Perkins and Katharine Isabelle’s relationship here, and it just hurts to see them pulled apart by something that was no fault of their own. It’s simple, but it’s effective, and though I generally find the werewolf sub-genre one of the hardest to appreciate in horror, this is a fantastic film.
Of course, a lot of it goes to the performances of Emily Perkins and Katharine Isabelle. Perkins, naturally, played Beverly in the 1990 adaptation of Stephen King’s It, and grew into a decently attractive young woman. She does great here as a put down upon teen, with her snarky sister, Katharine Isabelle. Isabelle does amazing too, and definitely brings another recognizable face into the mix, as she’s popped up in plenty of horror films, from Freddy vs. Jason and American Mary to Hard Ride to Hell and 13 Eerie.
Few others in the cast are near as spectacular, but that’s not something to fault them for. In different ways, many of the others here shined, including Kris Lemche, Jesse Moss (though I didn’t love his character’s story), and Mimi Rogers (especially toward the end, with a bit of a WTF line). All add a little something to the film, which is welcomed, but none come close to comparing with the leads.
By throwing in puberty and periods into the mix, Ginger Snaps feels real. Isabelle’s character is literally growing up, threatening to leave Perkins’ character behind, and this alone would make for a great sibling drama. Mix in some werewolves, very solid special effects, and an emotional conclusion, and you’re set. Very much worth watching multiple times, Ginger Snaps is a definite treat.
8.5/10
This is one of the films spoken about on Fight Evil’s podcast, so if you want to hear Chucky (@ChuckyFE) and I discuss this, by all means listen to the fun.
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.
Jiggy's Horror Corner 