High schooler Jill takes a babysitting job, overseeing two sleeping children while the parents have date night. The phone rings and an assumed prankster tries to scare Jill, either asking why she hasn’t checked the children or doesn’t say a word, but as Jill fields calls throughout the night with the same terrorizing voice, the terrified sitter phones the police whom trace the call from inside the house. Jill barely escapes the deadly encounter that left two children victims to a psychopath; yet the now happily married, mother of two small children is faced with the same killer seven years later after he escapes from a mental institution. Hot on his trail is detective turned private eye John Clifford who will stop at nothing from stopping a maniac who will kill again. Years later, Jill and Clifford team up once more to investigate a similar case of a co-ed being specifically terrorized by an obsessive stalker through the span of five years to the point where his next move could be her last.
Perhaps one of the best, if not the best, openings to a horror movie ever, Fred Walton’s “When A Stranger Calls” puts a freeze on the heart, forces to choke down the breath, and tightens the already painfully clenched fists with sheer, thick tension bred from an urban legend of the babysitter and the man upstairs. Walton, and co-writer Steve Feke (“Mac and Me”), develop two successful thriller from script to screen, spanning over the course of 14-years. Walton’s uncanny ability to invoke fear through a conduit of simple objects, such as a telephone ring or in the thicket of dead silence, and leading a direction of motivational hesitation or slowness to the story and through it’s characters is dread absolute. There’s similarities between Fred Walton and “The Driller Killer” director Abel Ferrara with a scent of realism and grittiest blanketed with a knack for the abstract in certain facets. Though slightly fluffier to Ferrara’s shock value, Walton builds anticipation in not just his hit first film in 1979, but also in his made for TV movie in 1993.
Starring as the lead in both films is Carol Kane. The “Scrooged” actress shells out a white knuckling performance in Jill, the terrorized babysitter phoned inside the house by man upstairs. The harrowing night that will scar for Jill for life will continue through into the sequel, “When A stranger Calls Back.” As Jill grows through both films, so does Kane who builds the character a tougher exterior to match wits with second psychopath stalking a hapless co-ed. She’s teamed with legendary actor Charles Durning. Essentially in Walton’s “When A Stranger Calls,” Kane and Durning never have any scenes together, performing in almost two separate stories until the climatic that intertwined that collaboration. During’s a fine actor and can be the bull of any detective and/or private dick lead, but, to be honest, Durning always carried a hefty, front-heavy load that didn’t quite fit his character, John Clifford, chasing on foot a much leaner foe. “When A Stranger Calls” cast also includes Ron O’Neal (“The Final Countdown”), Tony Beckley (“In the Devil’s Garden”), and Colleen Dewhurst (“The Dead Zone”) while “When A Stranger Calls Back” also includes Jill Schoelen (“The Stepfather”) and Gene Lythgow.
A fleeting glimpse of brilliancy can go relatively unnoticed in Fred Walton’s “When A Stranger Calls.” Much of what makes the film so effective is essentially obsolete; for example, rotary phones are dinosaurs or even landlines for that matter. Also, the way Walton breaks up the film into a definitive three separate acts perfectly stretches the urban legend much more than warranted and the director also completes the story and character arcs. Dana Kaproff’s sophomore score can be characterized as menacing, suspenseful, and aesthetically unfit to the point of inspiring dreadful sensations that heighten the story’s already engrossing nature. In “When A Stranger Calls Back,” the opening is basically a mirror image of the original film with a slight (of hand) change and the narrative itself is captivating enough to get engrossed with, but there’s something about the made for TV movie that doesn’t quite sit right. Perhaps, the killer’s underdeveloped motives doesn’t make things crystal clear or just maybe the killer’s use of a ventriloquist and body art into his perverted and obsessive arsenal is too zany. Despite being a made for television movie, Walton’s followup film was premiere on Showtime back in 1993, giving the movie a not-so-diluted and PG-13 appeal; instead, bits of grittiness and some strip club nudity rivals the tone of it’s predecessor.
Second Sight presents “When A Stranger Calls” and “When A Stranger Calls Back” double feature on Blu-ray home video in the United Kingdom. Despite the upgrade, a DVD-R was provided for the review so technical aspects will not be reviewed. The disc did include bonus features such as Fred Walton’s inspirational short film “The Sitter” and interviews with director Fred Walton, Rutanya Alda, and Dana Kaproff, and Carol Kane. Carol Kane has more recently been the quirky and city-salty landlady that’s quick to whip sarcasms and clobber any hipster with a gentrifying agenda with a baseball bat in “The Unbreakable Kimmy Schmidt,” but Fred Walton saw Kane for how the actress could truly perform under a realistically terrifying moment, a moment that savors being on tenterhooks and frozen in time for almost the last 40 years as a classic and iconic scene in horror movie history. “When A Stranger Calls” and “When A Stranger Calls Back” is simple, yet deploys effective thrills with pure impending loom and dread in massive, lucrative quantities that may have been antiquated by time, but is epitomized as vintage and elegantly construed horror.
Evil Isn’t Home. “Death House” review!
Top law enforcement agents, Boon and Novak, achieve special access through steep sacrifice during job assignments and are permitted to tour their upcoming placement in the highly exclusive Death House, the ultimate maximum and multi-level penitentiary home to the nastiest criminals known to society and the deadly threat to mankind in a metaphysical way. Death Houses uses virtual reality to keep inmates stimulated to the point of calm submission as well as drugging the homeless and the unwanted to supply killers with victims upon victims in an their personalized virtual surroundings, but when an outsider uses an EMP to knock out all power within the facility, the cages are open and the ruthless animals are free to overrun, beating to death the guards and staff. Boon and Novak must fight their way to the bottom level that hold the Five Evils, criminals with grotesque supernatural abilities and a wickedly grisly past, where the two agents believe the Evils are their best hope for survial against a Five Evils acolyte named Sieg and his faithful jailhouse followers.
Considered as “The Expandables” of horror, “Death House” had gained almost instant fandom solely from the long-list of horror icons in the cast. Director B. Harrison Smith (“Camp Dread”) re-writes most of Gunnar Hansen’s original “Death House” story produced by Cleopatra Entertainment and Entertainment Factory. Cleopatra Entertainment is more notably a music label that has delved into films the last few years and, in my opinion, haven’t faired positively in the horror genre, but “The Texas Chainsaw Massacre” star fought tooth and nail to try and get his script off the ground, even in the face of death. “Death House” saw release after Hansen’s death, but from interviews with the filmmakers, Smith had almost totally revamped the original treatment, leaving The Evil’s at Hansen’s request if his script was to be entirely cleaned. Shot right in this reviewer’s backyard of Philadelphia, Pennsylvania at the historic Eastern State Penitentiary, the defunct prison is an ideal location as the “Death House” due in part to John Haviland’s separate cell design and gritty appeal that was once of the home of Al Capone, but more of the focus is on the interior than exterior with green scenes and Los Angeles shots constructing the story-lined scenes.
Like aforementioned, “Death House” has been called the “The Expendables” of horror. An immense, if not soaked, cast of horror fan favorites are peppered about around the main characters of Agent Boon and Novak. “Sushi Girl” and “Zombeavers” star Courtney Palm embodies the Agent Boon character with G-man toughness, but finds difficulty leaving that b-horror mentality with shakiness in working climatic scenes. Palm’s also roped into doing an extremely gratuitous shower scene with Cody Longo (“Piranha 3D”) as Agent Novak. Novak’s a hotshot and Longo has the looks and the talent to out perform his character, but Smith’s script doesn’t do justice to either Boon or Novak’s character that blatantly underwhelms their performances with cameo star power and a shoddy narrative. Dee Wallace (“Cujo”), Barbara Crampton {“Re-Animator”), and Kane Hodder (“Jason Goes to Hell”) have prominent roles that are pertinent to the story and are enjoyable to see them in more of a supporting capacity. Andrenne Barbeau {“The Fog”), Sid Haig (“The Devil’s Rejects”), Vernon Wells (“The Road Warrior”), Bill Moseley {“The Devil’s Rejects”), Lloyd Kaufman (Mr. Troma), Michael Berryman (“The Hills Have Eyes”), Tony Todd (“Candyman”), Sean Whalen (“The People Under the Stairs”), Debbie Rochon (“Killer Rack”), Bill Oberst Jr. (“Deadly Revisions”), Felissa Rosa (“Sleepaway Camp”), Danny Trejo (“Machete”), Tiffany Shepis (“Abominable”), Brinke Stevens (“The Slumber Party Massacre”), Camille Keaton (“I Spit On Your Grave”), Gunnar Hansen (“The Texas Chainsaw Massacre), and R.A. Mihailoff (“Leatherface: Texas Chainsaw Massacre”). Whew. Rounding out the remaining cast is Lindsay Harley (“Nightmare Nurse”), Vincent M. Ward (“The Walking Dead”), and Bernhard Forcher.
While the genre star-studded ensemble cast is a wet dream for horror fans, “Death House” fails in numerous filmmaking categories with the first being the most important, the script. Smith’s re-work of Hansen’s original story requires another drastic once-over, or two, as the final result attempts to push, stuff, and cram 100 lbs of multi-subgenre elements into a 10 lb, inflexible bag, cramping the ambitious project with dis-connective storyline tissue braced together with shoddy visual effects, like the two agents free-falling down a bottomless elevator shaft and able to precisely shoot their targets on each level. The overall result of “Death House” just endures an unfinished varnish and seems slapped together with pre-schooler glue and claggy spit. Singular moments surface as diamond specks amongst cubic zirconias, like the Mortal Kombat fatality-esque practical effects, but are too far and in between to muster up an enjoyable film. The Five Evils definitely and desperately needed more presence in the story instead of just flexing the talking heads muscle; well, the only two Evils to say anything at all were Bill Moseley and Vernon Wells. The Five Evils didn’t quite have that oomph to be a force to be dealt with as Gold-described beings who philosophical interpretations on the concept of good and evil.
Cleopatra Entertainment and MVDVisual present B. Harrison Smith’s long-anticipated “Death House” onto DVD home video. The unrated, all-region DVD is presented in a widescreen format that displays some frayed flaws like contrast; there’s way too much inky black in the dark scenes and little-to-no definition in more visible sequences. The compression suffers from blotchy artefacts at times too and lacks hues, which works with the gritty tone inside the Eastern State Penitentiary’s decomposing walls of rubble and decay. Visual effects are glossy with virtually no textures to give detail or, essentially, life amongst the continuous death. Bonus features include multiple interviews with director B. Harrison Smith, Courtney Palm, and more. Also included is a behind-the-scenes feather, a gallery slideshow, and theatrical trailer. Despite being true to the title and highly anticipated since it’s inception into the public market, “Death House” ultimately disappointments as an unfurnished mess enlisted with big names in the horror domain that’ll unfairly sell the film on it’s own, but all-star cameos won’t establish “Death House” as a solidified cult favorite, being unfortunately one of the biggest release flops of 2018.
Political Extremist Molds An Evil Spawn! “Trauma” review!
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.
An Evil Stare Conjures a Peeping Tom! “Butterfly Kisses” review!
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.
Did Evil Put You On It’s Will? “Next of Kin” review!
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.
It's Bloggin Evil! 