In 1978 Chile, a powerful political extremist exploits the Chilean army to conduct and carrier out the physical and sexual abuse against the people of Chile, including forcing his own son, Juan, to have sex with his tortured mother and executing her right in front of him while in the fornicating act. Juan’s father continues to further the abuse with fear, terror, and misogynistic berates until he’s finally fatally coup. Fast forward to 2011, Juan’s an unstoppable madman as he terrorizes the locals over the years without authoritative regulation and also four female outsiders on holiday for a girls’ weekend. Juan and his son force their way into their residence, tyrannizing, raping, and even killing one of them before leaving his cruel mark in his wake, but with the help of a local officer, the remaining three survivors seeks to make sure Juan, and his equally screwed up family, never harm anyone again. However, Juan is prepared, held up inside a compound subterfuge, well-armed and well-unhinged.
Perhaps based loosely off the atrocities of of former Chilean President Augusto Pinochet in the 1970’s, Artsploitation Films’ distributed “Trauma” goes to the unapologetic extreme, building upon an already unsavory narrative into the bred morbid disposition of the human psyche. Written and directed by “Zombie Dawn’s” Lucio A. Rojas, “Trauma” is a cold, blunt object with a razor sharp bite and has a penchant for the twisted. The Chilean director’s film isn’t the only game in the market of extreme movies, but does manage to create a motive of separation between most with the offending character experiencing traumatic corruption by someone close; in this case, Juan’s father 40-years earlier by oppressing the boy through physical pain and scrambling his son’s mental state by removing any humility, compassion, and reasoning that manufactures the perfect ruthless butcher. Pinochet used his military power to be a lethal strong hand when desired; Rojas spices it up by adding forced incest, rape-after-rape, and implementing a subconscious malevolency.
“Trauma” stars “To Kill A Man’s” Daniel Antivilo as the despicable Juan. Antivilo is patient and soft in his approach to a deranged character that doesn’t display that wild abandonment in psychotics. Juan goes on to slowly terrorize four lovely outsiders from the city in Andrea (Catalina Martin), Camila (Macarena Carrere), Julia (Ximena del Solar of “Perfidy,” another Rojas film), and Magdalena (Dominga Bofill). The four actresses offer up different character perspectives and personality that should divide the dynamic or, at least, complicate it; there’s a strong sense of lesbianism between them, even exhibiting traits in those who don’t identify as such. Antivilo macho savagery pitted against the four stunning, but strong women does create a black and white, stark-producing character placement. Outside that dynamic, one character has no dialogue and, yet, manages to high level physical role that’s barbaric, humiliating, and spacey and that role is inside of Juan’s schizoid son, Mario, is donned by Felipe Rios who has the strung out appearance of a long, drawn out face and muscularly thin. Eduardo Paxeco, Claudio Riveros, and Florencia Heredia round out the cast.
Rojas does a beautiful job in the juxtaposition department, paralleling the bleak, grimy, and yet agreeable life of Juan and his equally as certifiable family next to the full of life and vigor in the unsuspecting women that Rojas’ introduces off with Camila and Julia engaging in a steamy girl-on-girl love making scene that doesn’t leave much to the imagination and, then, slides into their instant road trip the day after. Rojas had built up Juan’s pain and suffering toward being molded into a monster whereas the women fly by the seat of their pants, churning out memorable moments in a flash whereas Juan’s unfortunate course was a slow burn throughout his long, hard life. The parallelism flips from Juan to the women up until the moment their lives intertwine and this is where things get messy with Roja’s script. Between Julia, Camila, Magda, and Andre, three of whom are related, tension builds as Julia plays the flirtatious and brazen field between hooking up with the cousins as stroppy Andrea steams in a passive stew on the sideline. This subplot never goes explored, going uncooked right in the middle of a hot flame where passions and couples’ plights evolve the story. The abrupt presence of Juan puts a cease and desist on any other subplot that ultimate funnels “Trauma” to be a rape-revenge flick with a graphic content.
Artsploitation Films continues to distribute internationally provocative films that always delight as well as disgust (in a good way). With Lucio A. Roja’s 2017 film, “Trauma”, casualties pile high and damage control is non-existent, fitting the Philadelphian-based company’s axiom that presents the film onto a high-definition Blu-ray. With a widescreen, aspect ratio 2.35:1, the image quality is quite good. Details are very promising here and really need to be with the gore. The face explosion and the jaw unhinging deaths are certainly not stodgy as the scene on these moments linger more than most would, soaking up the full effect of the viscous covered chunks out from the face crater by a high caliber handgun is a thing of beauty. The Spanish 5.1 surround sound syncs up well in all aspects from dialogue to ambiance. English subtitles are available and line up well enough though speedy at times. Dialogue is clear and present, Ignacio Redard score is heard, and no signs of any kind of distortions or other issues. Bonus features are limited to just the theatrical trailer. “Trauma” might have vastly skewed the actual events the film is based off of to pen a story, but what a gorgeously gory-filled and exploitively-charged narrative that can be a tell all for the cause and effect of political extremism at it’s worse. Director Lucio A. Rojas puts Chile on the controversial and extreme horror map.
Struggling filmmaker Gavin York discovers a stowed away box full of film cassettes in his in-law’s basement. As York delves into the tapes, he becomes obsessed with the tapes’ contents involving two film students documenting the evoking of localized folklore phantom, known as Peeping Tom, as their thesis. Capturing Peeping Tom on their camera acting as a human lens, the two students can’t escape the malevolent presence that gets closer and closer to their reality with every shutting off the camera. York, himself, is also being documented by a group of filmmakers, attempting to capture the far-fetched story of Gavin’s unravelling of the historic legend as well as to turn a profit in revealing that Peeping Tom does, in fact, exist. The two tales of filmmakers ride a distressing parallel that spirals them into ghastly obsession and forces them to never, ever blink again!
“Butterfly Kisses” is the 2018 supernatural faux-documentary from writer-director Erik Kristopher Myers. The “Roulette” filmmaker finds inspiration in Ellicott City, Maryland’s, very own, staring contest champion in Peeping Tom; a 16th century labeled example of a Flickergeist, a shadowy image just on the edge of the peripheral vision, and Peeping Tom also goes by the monikers Blink Man or The Tunnel Man. “Butterfly Kisses” title comes as when Peeping Tom gets closer with every blink of an eyelid, his victim will need to painfully keep their peepers open for as long as they can, but when Peeping Tom is so close, close proximity to the face, flutter’s his eyelashes against her eyes forcing one to blink and succumb to his deadly motives. With Myers’ film, a little bit of this reviewer wanted to see Peeping Tom actually deliver the act of butterfly kisses upon a victim before mangling the poor soul into oblivion.
While both documentaries involve shedding light onto the exposure of a Flickergeist, the narrative harshly shines more of the starlight onto the characters making these films. Gavin York is essentially dissected while he being self-absorbed in himself and his dollar signs he thinks his project is worth to the word. Seth Adam Kallick does Gavin well though perhaps slightly overselling the performance; however, there never was a deeper rabbit hole for York to escape from, leaving not a lot of range for Kallick and his character to arc. York studies and analyzes the original thesis film spearheaded by Sophia Crane, played by Rachel Armiger, and her cameraman Feldman, played by Reed DeLisle. The dynamics are fine between Armiger and DeLisle whom poke the bees nest of folklore legends, but moments to reflect their humanity, why should we care about these two characters as people from abandoned or forgotten footage, didn’t quite translate. Rounding out the cast Erik Kristopher Myers, Matt Lake (Author of the “Weird” state book series), and Eileen del Valle.
The documentary inside a documentary is like looking into a mirror that’s facing another mirror, ping-ponging back and forth between parallel stories that are only set a part bestowed year their recorded while peppering Peeping Tom true to form, as a flicker of a shadowy figure. Myers does his due diligence in editing these two films together, meshing appropriately the intertwining, sometimes combating, docs to find common ground in a linear story. Sometimes the realism just didn’t hit the mark and creating that casual dialect or the valueless moments didn’t blossom, staying focus more on the task at hand. Also, this narrative has been told and rehashed before in some way, shape, or form, whether hunting the legend of Bigfoot or summoning the Slender Man, finding separation between Myer’s film and those other project proves difficult. What’s enjoyable about “Butterfly Kisses” are the welcoming jump scares and while only a couple of jump scares make the cut, the two are well-timed, well-scored, and well-placed to send a shockwave through out the nervous system. Even I jumped on these scenes.
Four-Fingered Films presents Erik Kristopher Myers’ “Butterfly Kisses,” a supernatural documentary that explores a national, Great Depression-born, folklore bred in Maryland and depicts a contagious obsession of stubbornness and worth. Unfortunately, an online screener was provided for this critique so the audio and video aspects will not be reviewed. There were also no bonus material with this screener. “Butterfly Kisses” is a quasi-found footage spook show surrounding another of America’s frightful urban myths, granting Peeping Tom more staying power just inside the corner of our peripheral vision, but the film doesn’t quite highlight and tour the reason or the rhyme to Flickergeist’s true power. Myers chose to detail the downward spiral of those consumed by the sight of his very questionable existence in more than one profitable fashion and that can be more frightening than the realism of a ghoul.
After the untimely death of her mother, Linda returns from her university studies to reacquaint herself with the inherited Montclare, a home for the elderly her mother owned and operated through the decades as a family business. As she internally debates about whether to sell the grand, yet antiquated estate, 24-year-old Linda shuffles through her mother’s left behind things that rekindle Linda’s faded memories of her youth and add a sense of melancholy about her mother’s mental condition. A seemingly quiet, if not quirky, home for the elderly quickly becomes shrouded with mystery after the discovery of one of the residents found dead in a bathtub. Soon after, Linda feels as if she’s being watched and toyed with inside the corridors of Montclare: candles found lit, bathroom fixtures overflowing and cascading with water, mysterious figures looming from inside her room’s window, and her mother’s belongings sprawled out about the room. Paranoia sets into Linda as she suspects the resident caretaker and doctor of a lethal plot against her inside an old, foreboding manor that troubled her mother into deathly consequences and she searches for answers inside her mother’s extensive diaries that reveal the ominous dread that overwhelmed her inside an evil house.
“Next of Kin” is Australian’s answer to Dario Argento’s hauntingly apprehensive and vividly hued classic, “Suspiria.” Directed by Tony Williams and co-written with Michael Heath (“Death Warmed Over”), “Next of Kin” embodies monolithic brooding merits of a gracefully shaped horror and palpitating anxiety unlike any other Australian horror film we’ve ever seen before. In fact, Williams 1982 film doesn’t feel very Australian at all that’s set chiefly in and around Montclar, a lavishly gothic estate with expensive fountains and floral garnishes. Aside from native accent and barely a dusty road to drive down, the country of origin could be anywhere, punching home the aspect that the incident at Montclar is universal. Looking into a couple of their techniques, Williams and cinematographer Gary Hansen (“Image of Death”) utilize slow motion and interlaced scenes to convey a surreal dread that transcends from film to senses, also involving disruptive audio cues and visual jump scares, to culminate every scene, ever moment, into a well thought out result on how to effectively reach out and affect that scared little boy or girl in all of us.
Primarily a television and mini-series actress, Jacki Kerin sets foot into the main actress Linda. Kerin’s able to flip emotions from emitting a passive quality while she seemingly annoyed by her mother’s death while switching gears into a hyper-tensive defender. The small screen actress translate well onto the big screen, accompanying well versed thespians in “Picnic at Hanging Rock’s” John Jarratt, who went onto to more notably the “Wolf Creek” franchise. There’s also Alex Scott (“The Abominable Dr. Phibes”) and Tasmanian-born actress Gerda Nicholson. Scott and Nicholson do a fine job of portraying un-trust worthy snoops with underlining knowledge yet to be exposed and with Kerin, the fear goes unopposed and spreads like wild fire. the remaining cast includes Charles McCallum, Bernadette Gibson, Robert Ratti, Vince Deltito, and Debra Lawrence.
Practical effects are minimal in “Next of Kin,” but are well integrated with a meticulous purpose. Williams maintains the gore to an infancy amount, but the New Zealand born director doesn’t nickel-and-dime the macabre. Much of the death displayed comes in at post-humorous, visually positioning the cold and blue hued, more at times ripped life from, bodies to vessel the story forward toward a shocking, what-the-hell, and oh glorious climax. Then, when all the proverbial cards on the table, Linda finds herself ensnared in a cat-and-mouse game where Chris Murray’s practical effects come to the forefront. Special effects maestro, Chris Murray, had the George Miller experience while working on “Max Max” in 1979, prepping him to be the adequate effects artist to create surreal and, also, brutal Giallo-like murder.
Umbrella Entertainment presents Tony Williams’ “Next of Kin” onto a region free, full HD 1080p Blu-ray home video. An Ozploitation classic in itself, Umbrella Entertainment puts the film on a home media pedestal with a remastered 4k transfer from the original 35mm interpostive and presented in a widescreen, 1.77:1 aspect ratio. Beyond gorgeous with lush grim colors and able to keep the natural grain of the 35mm nitrate, “Next of Kin” sees one hell of an upgrade that shows no wear in the transfer and no compression issues or edging enhancements. Even with the heavy blue tint at time, the amount and the use is appropriate alongside Gary Hansen’s vision. The new English DTS-HD master audio emphasizes the heavy synthesized score by German electronic music composer Klaus Schulze that meshes fine with the creepy house ambiance. Dialogue is properly forefront and crystal clear. Special features run amok with audio commentaries with director Tony Williams, producer Tom White, and with cast members John Jarrett, Jackie Kerin, Robert Rattie. Also on the release is a “Return to Montclar – Next of Kin” shooting locations revisited, extended interviews from “Not Quite Hollywood” director Mark Hartley, deleted scenes, original and VHS trailer, German opening credits and trailer, an image gallery, and a couple of Tony Williams’ short films: “The Day We Landed on the Most Perfect Planet in the Universe” and “Getting Together.” “Next of Kin” has a brawny Italian Giallo flavor with a gritty, distinctive core of Australian horror filmmaking; sheerly beautiful and indisputably morbid, director Tony Williams has garnished a choice horror favorite that’s been sorely passed over through the years.
A Massachusetts foursome of girls, Wren, Chloe, Hallie, and Katie, invoke the summoning of an internet lore named Slender Man after watching an instructional online video on how to evoke his presence to reality. After the video completes and the girls dismissively chalk this activity up as hoax-filled rubbish, an embattled and disconnected Katie vanishes a few weeks later during a school sanctioned field trip to a historical graveyard, thrusting the remaining three friends into investigating her abrupt disappearance all the while they each experience an ominous figure haunting them in and out of consciousness. As the continue to look for Katie, Slender Man keeps popping up into the findings. Wren’s convinced, after suffering from terrifying visions, that Slender Man wants the four who’ve contacted him and when her friends dismiss Wren’s frantic ravings, she employs Hallie’s sister, Lizzie, to assist in stopping Slender Man. All of reality is being skewed while Slender Man hunts them down one-by-one and if they’re not taken, those left in Slender Man’s wake will forever be deranged with madness.
Straight from it’s internet meme playbook origins comes the constructed next chapter in “Slender Man’s” mythology from the “I’ll Always Know What You Did Last Summer” director Sylvain White and written by David Birke (“Elle”) that feels very familiar to “The Ring” premise. Based of the mythos created by Victor Surge, aka Eric Knudsen, “Slender Man” fruition onto the Hollywood scene finds a home under Sony’s Screen Gems division, the same division that delivered the Paul W.S. Anderson “Resident Evil” franchise. While not a mega-glossy action horror piece for Sony and Screen Gems, White’s take on one of the internet’s most popular and mysterious spawns revels in it’s own crowd funded supernatural element and White is the grand puppeteer behind the scenes piecing the material together that builds upon, and extends, “Slender Man” canon into film and video visuals. “Slender Man” provides the character flesh, extenuating doubt where special effects can make monolith his presence of inception and flourish from imagination to terrifying reality. If looking outside the box, “Slender Man” could also be translated into symbolism for the online predatory habits men take towards young, sometimes teenage and impressionable girls. There in lies references to this notion with such in Katie, who is a runaway teenage girl with a fixation toward an obscured man from the internet, aka Slender Man, and also Hallie’s vivid nightmares of being pregnant with the very Lovecraftian-esque spawn of Slender Man as tentacles shoot out from her large, protruding stomach. Yes, she’s a high school girl…
“Slender Man” centers around a four female, high school age characters: Chloe, Katie, Wren, and Hallie. The latter being the leader, Hallie, played by Julie Goldani Telles, is an unwavering non-believer of Slender Man, contributing her visions and feelings as some sort of coming of age Freudian bizarro show. The now 23-year old Telles convinces to pull off a well adjusted teenage girl spiraling into Slender Man’s otherworldly oblivion and absolutely turns the corner when younger sister Lizzie, Taylor Richardson, becomes an unwitting participate. Hallie almost comes toe-to-toe with her confident and frantic friend Wren, a character bestowed to Joey King of “Quarantine” and “White House Down.” King’s townboy-ish approach has served well to keep her character apart in order to not clash with other warring personalities. Yet, there’s not a whole lot interesting aspects associated with the other two characters, Chloe and Katie. If audiences were expected to be concerned for Katie, then Annalise Basso needed her character to have more screen time. The “Ouija: Origin of Evil” actress barely had a handful scenes to try to convey a poignant life with an alcoholic father before she’s whisked away to never been seen again. Chloe had a slight more substance as means to exhibit the result of not being taken by Slender Man; “Chilling Adventures of Sabrina’s” Jaz Sinclair didn’t really add any pizzaz to her poorly written flat character.
Though Slender Man’s origins surpasses being a byproduct of an internet meme and becomes woven into a lore of all it’s own through a global, technological network, the very fabric “Slender Man’s” tech horror theme had laid a negligent foundation. Viewers without a hint of Slender Man knowledge will find the connection between the shadowy figure that stalks and kidnaps children and the domain from which it was born, witnessing the technology used in the film being wielded as a tool of evil rather than a conduit of to connect two worlds. What works for Sylvain White is his knack for shaping Slender Man into physicality in an applauding effort that combines chilling atmospherics, well timed visual and audio cues, above decent special effects, and the crunchy, contorted body of Javier Botet as the Slender Man. We’ve covered Botet before in “Insidious: The Last Key” as the antagonistic KeyFace creature. KeyFace and Slender Man, two similar but still vastly different villains, wouldn’t be as influential or be brought to such a horrifying fruition if Botet was not behind the mask and it’s because of Botet’s blessing, but also a curse, Marfan Syndrome physique that he’s able to accomplish a wide range of distorted and malformed characters.
Sony Pictures presents “Slender Man” onto HD 1080p Blu-ray under the Screen Gems label. The Blu-ray is presented in widescreen of the film’s original aspect ratio, 2.39:1. “Slender Man” doesn’t sell itself as high performance, resulting in more details in the range of textures rather than relying on a clean, finished look. Colors are remain behind a cloak of darker shades to pull of gloomy atmospherics, but do brighten when the scene calls for it. The digital film looks great, if not fairly standard, for movies of today. The English DTS-HD Master Audio 5.1 track is quite high performance, like revving an engine on an imported roadster. Slender Man comes with his own cache of audio tinglers to send chills up your spin and invoke cold sweats. Every branch breaking ambiance and desperate and exasperated breath being took by the teen girls aligns cleanly and nicely with the visual representations. Dialogue is lossless and prevalent as well as being integrated seamlessly during more active sequences in a well balanced fit all with range and depth. Thin extras do put a damper on the release with a bland featurette entitled “Summoning ‘Slender Man:’ Meet the Cast.” The featurette doesn’t do much more than give the actors’ and White’s opinion of their characters and Slender Man. The shame of it is that the internet is a vast place of information and knowledge and, yet, the featurette doesn’t knick the surface of who and what is Slender Man. Plus, if remembering correctly, there are scenes omitted from this release; more intense and bloodshed scenes that would have granted a more adult friendly rating. This release doesn’t offer up two versions of the film. Despite embodying a rehashed, bi-annual story of supernatural and psychological tech horror of the PG-13 variety, “Slender Man” endures through with a sliver of appreciation for the easily missed facets that work as a positive in Sylvain White’s 2018 film, such as bleak atmospheric qualities and Javier Botet’s performance, but the diluted final product, released on Blu-ray, benches what could have an at home video entertainment home run for Sony Pictures.
Miskatonic University students Howard Damon and Randolph Carter investigate the disappearance of a missing friend last seen making good a dare to stay the night in a century-old, dilapidated house, right in the middle of a cemetery and with the caveat of a ghastly, creature legend. In the same instance, two colligate hunks try to fraternize with two freshman women within the dark and gloomy walls that seem to reposition themselves into an unescapable maze. Lurking through the inky corridors, an ancient and horrifying beast, thirsty for blood and hungry for flesh, continues to roam freely in the house, unleashed from it’s confined room a century ago, and hunting the students down one-by-one. Their only hope to get out alive is Howard’s haphazard bravery and Carter’s unrivaled intelligence that aim to rescue survivors and decipher the house’s resident Necronomicon to defeat an evil monster’s night of carnage.
Campy, brazen, and inspired, Jean-Paul Ouellette’s 1988 “The Unnamable” is every bit of an 80’s teen comedy rolled up into a bona fide ball of barbed madness shrouded with heaps of highly anticipated mystery. Unravels like a truly classic H.P Lovecraft story, Ouellette, who also penned the script, shows great patient to give the monster a grand finale revealing that leaves the characters left standing face-to-face with the fear that’s been stalking them. While “The Unnamable” strays away from more of Lovecraft’s prolific Cthulhu literary works, the story is drive by the theme of the unknown that partially, if not all, gives Ouellette motivation to not put the monster on full display. The fact that “The Unnamable” is also gory retells the tales of how horror used to be pure gold back in the Golden Age of the genre despite budget restraints and executive naivety in the audience ratings game.
“The Unnamable” finds their unlikely star for the unassertive character in Howard Damon. Soulcalibur series voice actor, Charles Klausmeyer, lands the role as his sophomore film about 8 years after Vanna White’s “Gypsy Angels.” Klausmeyer’s surefooted unsureness and comical desperation of Howard Damon makes him a likable character, likable enough to be opposite whatever has been locked away from over a century. Damn finds an arrogant cohort in Randolph Carter, a conceited fellow freshman whose a bit of a know-it-all, well versed by Mark Kinsey Stephenson. Stephenson, or rather his character, reminds me of a babyface John Glover (“Gremlins 2” and “Scrooged”). A pair of love switcheroo love interests in Alexandra Durrell, in her sole credited performance, and Laura Albert, who went from nude supporting roles to being one of the top stunt women in Hollywood, fair well as the standoffish and damsel-in-distress opposite the vibrant and lively Damon and Carter. Rounding out the remainder of the cast is Blane Wheatley, Eben Ham, Colin Cox, and Katrin Alexandre who did an impeccable gesticulation performance of the creature.
Ouellette story isn’t all that complex; a group of young students are trapped inside the black heart of a folklore notorious cemetery house. However, the breakneck narrative certainly needed something more extensive to the creature’s confinement and unholy backdrop, warranted to fulfill just what the hell these kids were getting into. The house has been doused with shielding dark magic, a fact barely mentioned until the final moments of the monster’s exposition, unveiled through the pages of the Necronomicon which becomes weaponized by quick study Carter. Spells and passages envelope the monster within the house’s old bones, like a prison cell constructed of two-by-fours, wood panelling, and asphalt shingles. While the story could have opened up more in that regard, the lack of dark mysticism doesn’t uproot an entertaining creature feature strongly braced with gory, character demising allegories, and peppered with misogynistic innuendos and campy skirmishes with the damned.
Unearthed Films and MVDVisual proudly present “The Unnamed” as part of their sub-label entitled Unearthed Classics and lands onto 1080p Blu-ray home video. Horror fans will thoroughly enjoy the newly restored 4k transfer presented in widescreen, 1.85:1 aspect ratio and the image quality is remarkably detailed with absent compression artifacts and edging enhancements. Skin tones look natural during outside shots while a blue tint, overlaying a dark backdrop, inside the rickety house isn’t overexposed and makes for quite the grim atmosphere. The English 5.1 Surround Sound DTS-HD, 2.0 PCM, audio track was resonating with a range of ambient sounds; however, an unfortunate mishap of ambient duplication followings about half a second from the initial sound. The dialogue track and soundtrack are no affected by this issue and the dialogue is clear in the forefront, not terrible interfered by the technical boo-boo. The extras are packed with audio commentary with Charles Klausmeyer, Mark Stephenson, Laura Albert, Eben Ham, Camille Calvet, and R. Christopher Biggs. There’s also a video interviews with actors Charles Klausmeyer, Mark Stephenson, Laura Albert, Mark Parra, R. Christopher Biggs, Camille Calvet, and Eben Ham, a vintage audio track, photo gallery, and trailers. The Blu-ray comes in a limited edition slip cover with the beautifully illustrated gothic-esque poster from Tongdee Panumas courtesy of the M. Wright Collection. “The Unnamable” was endangered; a potentially lost classic that quickly went to being out of print as soon as it was released onto DVD in Europe and never actually saw the digital upgrade light of day Stateside from it’s VHS predecessor. Luckily for us fans, Unearthed Films, living up to label moniker, unearths “The Unnamable” from the depths of obsolete format hell, revamping for a new generation of horror fans and re-transfixing fans who once thought Jean-Paul Ouellette’s film would never, ever see a glorious rebirth.