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.
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.
A low on the totem poll detective receives the chance to get out from behind a paperwork overloaded desk to investigate the gruesome death of a seemingly BDS&M gone array. The case lures the investigator through the muck of the sleazy and sexy underground to where an independent zine lists GORGASM as the ultimate climax. With every lead, GORGASM connects them all and there’s one person, one suspect, on his radar and her name is Tara, the face of GORGASM. Tara’s a psychopathic call girl, aiming to dish out a finitely pleasurable zenith to those who want more than just sex, and the unlikely hero detective embraces the case personally to put a stop to Tara’s gruesome delusional calling before he’s sucked into an inescapable world blended with lustful carnalities and death.
“Gorgasm.” By title alone, “Gorgasm” has already peaked interest and paved for a path of optimism and delight despite the inkling in the back of the mind about the film’s low-budget shlock. In any case, the title comes from the imagination of creator, writer, director of “Dead Silence,” a one Mr. Hugh Gallagher, and is his 1990 sophomore feature that showcase plenty of violence in an ostentatious psychosexual thriller. Gallagher, perhaps, isn’t the first to delve into porn’s mucky and sleazy underworld that’s universally stigma in many cultures, but, and again perhaps, is the first to explore the many facets that porn has to offer and highlights the habituating circumstances porn has to morph into to keep up with customer demand, whether it involves whips, clips, and chains or to be more specific in the realm of fetishes.
Gallagher didn’t manage to make any old, run-of-the-mill low-budget venture, but managed to do so with a professional lead in Rik Billock. The name might sound familiar to horror fanatics. Billock has been a stock regular in George Romero films: “Dawn of the Dead,” “Knightriders,” “Monkey Shines,” and in “The Dark Half.” He also had a small, yet door knocking down roll in Tom Savini’s “Night of the Living Dead.” Billock’s a bright star with an organic singularity amongst a mechanical lineup, popping out like a child’s pop-out book that solidifies his presence. Even his co-lead, introducing an actress only known as Gabriela, a former wrestling-affiliated performer in her first feature film. Gabriela is stunning, beautiful, and well-endowed, perfectly casted to be the personal-placing killer call girl with dark features and though her method is a bit monotoned and monologuing, Gabriela’s looks really do standalone. “Gorgasm” also co-stars Paula Hendricks who puts a real damper into the ebb and flow of being a strict and condescending sergeant to Billock’s character, but the silver lining is that this Hendrick’s sole credited role. Rounding out the cast includes Paula Gallagher, Kevin Patterson, Denis Hellrung, and co-producer Flint Mitchell in a show-stopping slimeball performance as a sleazy magazine owner.
With an extreme and inviting title like “Gorgasm,” there comes a usual, if not blatantly given, perception that blood will flow and guts will be strung and plastered on forefront of the featured scenes, but to an extent, the gore and the blood splatter were surprisingly granular results and doesn’t ultimately champion an autassassinophilia effect. However, don’t be scornfully turned away from Gallagher’s film if “Gorgasm” isn’t locked and loaded with blood drenching entrails and other body fluids and fleshy tissue. Gallagher executes tasty scenes of violence and mortality on a budget with examples being a garage door decapitation and a kill shot to the vagina. There’s also a weed whacker chewing through a pervs face. “Gorgasm,” perhaps, does find space in the gore and shock subgenre pie, even if only a sliver of a piece.
MVDVisual and SRS Cinema release the Draculina Productions film, “Gorgasm,” onto DVD home video and present the film on the original SOV, full-frame format that’s pleasantly held up over the last 28 years. Aliasing is quite common on shot-on-vide, even on Super VHS that director Hugh Gallagher shoots the film, and the coloring has a slight washed look, but considering the VHS monstrosities out in the world today on DVD, “Gorgasm” has no ill-will toward this release. The uncompressed PCM 1.0 mono track has limited depth and range with a consistent static hiss throughout, but generally adequate with clear dialogue upfront. The “bloody” bonus features include a commentary with Hugh Gallagher, behind-the-scenes footage, and trailers. Also, the grisly-gorgeous illustrated cover art by Mike Mez Phillips is exquisitely killer and on point. While director Hugh Gallagher mediocrely went through the nuts and bolts of vehement slasher violence without really thickening already deep pool of gore, the director did manage to fulfill a promising title with meshing sexual deviancy and blood in an entertainingly provocative feature. Rik Billock and Gabriela, whose half naked through more than half the 82 minute runtime, embraces their twisted characters that you’ll love to death!
After bearing witness the brutal suicide of her father, Mary undergoes family counselling as a result of being the cause of her father’s death with repetitive public accusations of molestation. The ill-equipped counselor suggests medical evaluation from a professional who beseeches the assistance of The Catholic Church when the determination concludes that Mary is suffering from severe Satanic possession. Directives from high positions in the Church service in waves three priests to perform the delicate exorcism; all of whom have conducted an exorcism under difficult and soul-exhausting situations. The irresolute and embattled priests field the call, blindly walking into Mary’s slithery persuasive possession state of soul-tormenting and death. The priests will tirelessly seek to have the beleaguered Mary exorcised of the nasty demon from within and have her tattered body come back to Jesus…or perhaps be personally delivered to the Devil.
Finally! American Guinea Pig: “The Song of Solomon” has been on my highly anticipated review material list for a very, very long time. Written, produced, and helmed by the founder and president of Unearthed Films himself, Stephen Biro has been more than widely known for years to promote and glorify gore in the shock-provoking films underneath his banner; a practice that has made his company a stable in the realm of horror aficionados. “The Song of Solomon” keeps the blood flowing….splattering, squirting, spurting, spilling, in fact! Whereas many of the Unearthed Films productions and distributions have a granular or avant garde stories, Biro, despite the confined and limited locations, pens an engrossing narrative with evocative, haunting, and surreal characters surged into a powerful and ageless tale that sordidly spanks “The Exorcist” like an irrefutably forgotten and spoiled rotten step-child. “The Song of Solomon” is that good and soars to the top in being one of this reviewer’s favorite Unearthed Films’ titles.
Jessica Cameron should just be handed a ton of awards for her performance as the possessed Mary. Cameron’s creative creepiness is unsurpassable and just oozes out of the character, zapping an icy chill down each disk of the spine whenever she uses the playful sing-songy voice of a snake’s fork tongue. As a whole, Cameron singlehandedly comes off overwhelming haunting and delivers a personality made up of nightmare material; a phenomenal performance that rivals, if not outright tops, Linda Blair’s Regan. There are moments when you think the 2003 “Truth or Dare” director and actress had post-production enhanced vocals to make Mary persuasive, enticing, and demonic, but only a slight vocal overlay on top is the only thin icing on the already devilish cake. It’s not as if Cameron didn’t have any competition on screen, either. Scott Gabbey, David E. McMahon (“Followers”), Angelcorpse’s Gene Palubicki (“American Guinea Pig: Bloodshock”), and Jim Van Bebber (“The Manson Family”) compliment the versus’ righteous, if not also flawed, challenger with immense passion for their respective roles of grief-stricken priests, plucked carefully by top Church officials to handle the exorcism. Maureen Pelamati, Josh Townsend, and Scott Alan Warner (“3-Headed Shark Attack”) co-star.
Production value must reign above the conventional indie fare and special effects owns much of that real estate. The man behind the special effects on such films as “Mohawk” and “Lung II,” Marcus Koch, has teamed up with “Bereavement” and “Murder-Set-Pieces'” Jerami Cruise to assemble some of best, yet refreshingly basic, gore effects seen recently. Regurgitation of internal organs, the compound splintering of bones, and even a Columbian necktie are the prime examples of what to expect from the unlimited imagination of the Koch and Cruise collaboration. Locations are simple and tight, leaving not much room for exploration of options for practical effects, but each scene is well thought out, choreographed, and designed for gruesome upshot that keeps true to Unearthed Films brand of filmmaking. Toss all that into a sack along with fellow colleague Gene Palubicki’s malevolently cacophony soundtrack and the outcome is a well-rounded horror film with extreme unapologetic values worth the time of day and night.
“The Song of Solomon,” an Unearthed Films production, lands onto Blu-ray distributed courtesy of MVD Visual. The 86 minute runtime film is presented in a High Definition 1080p widescreen format, 1.90:1 aspect ratio, on a single layer BD-50 disc. If you want gore, you got it with this particularly warm hued transfer really puts the devil in the details with grisly effects that could be hard to stomach. The English LCPM Dolby Digital 2.0 audio track caters with nice fidelity. Dialogue is clearly present amongst the Palubicki score and the ghastly ambience augments the visual viscosity of the gore. Bonus features include an audio commentary with Stephen Biro and Jessica Camera, another commentary with Biro and effects gurus Marcus Koch and Jerami Cruise, interviews with Jessica Cameron, Stephen Biro, Marcus Koch, Gene Palubiki, David McMahon, and director of photography Chris Helleke, a behind the scenes look, outtakes, and a photo gallery. Comparing Stephen Biro’s “The Song of Solomon” to William Friedkin’s “The Exorcist” is like comparing apples to oranges as both films relish and thrive in their own atmospheres. However, “The Song of Solomon” stands firm as a powerful competitor that offers up a ravishingly foul and metaphysical entry into the genre realm of demonic possessions casted with raw talent.
Third year medical student Dan Cain is on the verge of graduating from the New England Miskatonic University Medical School. That is until Dr. Herbert West walks into his life. Learning all he can from neurologist Dr. Hans Gruber in Zurich, Switzerland, West eagerly enrolls as a student at Miskatonic to viciously dismantle, what he believes, is a garbage postmortem brain functionality theory of the school’s grant piggybank Dr. Carl Hill while West also works on his own off the books after death experiments with his formulated reagent serum. West takes up Cain’s apartment for rent offer and involves Cain in a series of experiments that lead to reviving the old and the fresh dead. The only side effects of revitalizing dead tissue is the unquenchable rage and chaos that urges the recently revived to rip everything to shreds. Things also get complicated and people begin to die and then revive when West and Cain’s work becomes the obsessive target of Dr. Hill, whom discovers the truth and plans to steal West’s work, claiming the reagent serum as his own handiwork while also attempting to win the affection of Dr. Cain’s fiancee and Miskatonic’s Dean Halsey daughter, Megan Halsey, in the most undead way.
A vast amount of time has passed since the last time I’ve injected myself with the “Re-Animator” films and I can tell you this, my rejuvenation was sorely and regrettably way overdue. Stuart Gordon’s impeccable horror-comedy, “The Re-Animator,” is the extolled bastardized version of Mary Shelley’s Frankenstein without direct references and begins the ghastliness right from the initial opening prologue and never wanes through a fast-paced narrative of character thematic insanity and self-destructing arrogance with hapless do-gooders caught in the middle of undead mayhem. Producer Brian Yuzna financially backs Charles Band’s Empire International Pictures distributed 1985 film that’s based loosely off the H.P. Lovecraft 1922 novelette “Herbert West-Reanimator.” From a bygone novelette to an instant cult favorite amongst critics and fans, “Re-Animator” glows vibrantly like it’s reagent serum embodied with reality-buckling entertainment and grisly havoc displayed through the silver screen adapted form. Umbrella Entertainment has released a two-disc collector’s set, the first volume on their Beyond Genres label of cult favorites, and this release, with various versions, will include the allusive 106 minute integral cut!
From his first moments on screen holding a syringe to over three decades of pop-culture films, comics, and social media presence, nobody other actor other than Jeffrey Combs could be envisioned to be the insatiable Dr. Herbert West. Combs is so compact with an explosive vitality that his character goes beyond being a likable derivative of a Machiavellian anti-hero. Narrowing, dagger-like eyes through thick glasses on-top of small stature and a cruel intent about him makes Combs an established horror icon unlike any other mad doctor we’ve ever seen before. Bruce Abbot costars as Dr. Dan Cain, a good natured physician with a penchant of not giving up on life, but that’s where he’s trouble ensnares him with Dr. West’s overcoming death obsession. Abbott’s physically towers over Combs, but his performance of Cain is softly acute to West’s hard nose antics. Abbott plays on the side of caution as his character has much to lose from career to fiancée, whose played by Barbara Crampton. “Re-Animator” essentially unveiled the Long Island born actresses and made her a household name who went on to have roles in other prominent horror films, including another Stuart Gordon feature “From Beyond,” “You’re Next,” and the upcoming “Death House.” David Gale rounds out the featured foursome as the detestable Dr. Carl Hill. Gale embraces the role, really delving into and capturing Dr. Hill’s maddening short temper and slimy persona; a perfect antagonist to the likes of Combs and Abbott. The remaining cast includes Robert Sampson (“City of the Living Dead”), Carolyn Purdy-Gordon, and Peter Kent.
The “Re-Animator” universe is right up there with the likes of Sam Raimi’s “The Evil Dead.” Hell, there is even a line of comics that pit the two franchises together in a versus underlining. Unfortunately, “Re-Animator” is frankly nothing without the franchise star Jeffrey Combs, much like “The Evil Dead” is nothing without Bruce Campbell even though we, as fans, very much enjoyed the Fede Alvarez 2013 remake despite the lack of chin. Gordon’s film needs zero remakes with any Zac Efron types to star in such as holy role as Dr. Herbert West. That’s the true and pure terrifying horror of today’s studio lucrative cash cow is to remake everything under the genre sun. Fortunately, “Re-Animator” and both the sequels have gone unscathed and unmolested by string of remakes, reboots, or re-imagings. Aside from a new release here and there, such as Umbrella’s upstanding release which is fantastic to see the levels of upgrades up until then, “Re-Animator” has safely and properly been restored and capsulated for generations to come.
Umbrella Entertainment proudly presents the first volume of the Beyond Genres’ label with Stuart Gordon’s “Re-Animator” on a two-disc, full HD 1080 Blu-ray set, presented in a widescreen 1.77:1 aspect ratio. A very fine and sharp image quality that maintains equality across the board with minuscule problematics with compression issues, jumping imagery on solid colored walls for example, but the issues are too small amongst the rich levelness of quality and when compared to other releases, Umbrella Entertainment’s release is a clear-cut winner. The English DTS-HD master audio puts that extra oomph into Richard Bands’ score that’s heavily influenced by Alfred Hitchcock’s “Psycho,” adding a pinch of chaotic gothic charm to the macabre story. Dialogue is balanced and upfront, but there isn’t much prominent ambient noise to put the dialogue off-kilter. Special features on the first disc include the 86 minute unrated version of “Re-Animator,” audio commentaries from director Stuart Gordon, producer Brian Yuzna, and stars Jeffrey Combs, Barbara Crampton, Bruce Abbott, and Robert Sampson; there’s also a “Re-Animator Resurrectus” documentary, 16 extended scenes, and a deleted scene. The second disc includes the 106 itegral cut along with interviews with Stuart Gordon, Brian Yuzna, writer Denis Paoli, composer Richard Band, and former Fangoria editor Tony Timpone. Plus, a music analyst by Richard Band, TV spots, and the theatrical trailer. All this and a bag of corpses is sheathed inside a remarkably beautiful encasement with a seriously wicked custom slipcover desgin by illustrator Simon Sherry. There’s also reversible Blu-ray casing cover art with previous designs incorporated. H.P. Lovecraft would be extremely flattered and proud on how Umbrella Entertainment not only enhanced the film adaptation of his classic tale of macabre, but also with how diabolically attired the release is distributed. A true horror classic done right!