It’s Bloggin’ Evil’s Top 10 Horror Releases of 2016!

Writing between three sites, working full time, and all the other odds and ends has me beyond stretched, but I still manage to do what I love – watch horror movies and write up a review. While I didn’t watch EVERYTHING my favorite genres had to offer this year, some great and interesting films came across my lap from various filmmakers and distributors, to whom I’m so very grateful, and I wish I could list all of them in this list.

With that being said, here are the best out of the best in releases Its Bloggin’ Evil had the pleasure of covering in 2016 with exerts from the reviews!

#10 – Atroz – 2015

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Synopsis: In a wake of fatally striking down a young woman with their vehicle, two errant and drunk men, Goyo and Gordo, are arrested for the gruesome crime at the scene of the accident While handcuffed in the back of a squad car, an unorthodox police chief named Juarez discovers a video tape recorder in the front of their mangled car with a tape revealing the violent torture and killing of a young transvestite hooker. One tape leads to another, and then another, individually exhibiting a trail of cascading blood and merciless torture in the deaths caused by Goyo and his unstable and dysfunctional life. Juarez digs further into Goyo’s ghastly cases going through each horrific tape setting up Goyo for a shocking conclusion from his past he long thought was dead.

““Atroz” will make you never want to tour Mexico! I can fully understand why “Cannibal Holocaust” director Ruggero Deadato fully backs Lex Ortega’s graphic horror film an associate producer and presenter as the two films, separated by decades, are much alike with the majority of their likeness in found footage techniques, frighteningly realistic imitations of murder, and their artistic and austere grandeur of filmmaking narration. Ortega also sustains an effective horror feature through the confines of a problematic ultra micro-budget. Along with aid from a talented roster of actors and crew, no way was Ortega’s film was not being made. “Atroz,” translated to “Atrocious,” opens with the unsavory side of Mexico’s impoverishment that contributes to much of the Central American nation’s disturbing amount of unsolved murders. The montage opening is so powerful and moving that what precedes shocks as a gritty insight of what everyday Mexican residents might experience one way or another in their lifetime and though Ortega goes that extra mile to be obscene and disgusting in every way possible, the director supports his work with seeding a traditionally patriarchal society with gender identity afflictions that evolves organically and is purposefully displayed in reverse order to add more, if it wasn’t possible already, to the shock value of “Atroz.””

#9 – I Survived a Zombie Holocaust – 2013

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Synopsis: Aspiring screenplay writer Wesley Pennington obtains the position of a runner for a low-budget zombie film. Being at the bottom rung, Wesley is commanded to do everything without hesitation or question no matter how big or small the task. With the production already plagued with a slew of problems, the film’s cast and crew come under attack from real life zombies that swarm the forest location. Wesley, along with a handful of lucky survivors, rely on their zombie film knowledge to flee from the flesh feasting fiends, living in their very own zombie apocalypse movie.

“Rare is it to come across New Zealand horror now-a-days and when the opportunity presents itself, one must jump at a viewing with great enthusiasm. New Zealand horror has been known to be eccentric and fun, while also being gory and smartly scripted. From the early prevalent work of Peter Jackson (“Brain Dead,” “Bad Taste”) to lesser known cult favorites (“The Locals,” “Black Sheep”), the tiny New Zealand horror catalogue has made an everlasting mark in a heavily saturated American and European market. Guy Pigden’s written and directed 2014 horror-comedy “I Survived a Zombie Holocaust” takes it’s place rightfully so next to niche brethren, elucidating that horror and comedy in an extremely over saturated genre can and will still be an effective and entertaining movie.”

#8 – Curtain (aka The Gateway) – 2015

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Synopsis: Unable to cope working as a hospice nurse, Danni begins a new life in a new apartment after separating herself from a server downhearted state while living with her uncle Gus. As Danni settles into her degrading new job involving saving the whales and into her small apartment, she begins to decorate her home, starting with hanging a simple shower curtain. However, as soon as she exits the bathroom, the shower curtain vanishes and so begins the mystery that leads to the discovery that she’s now part of secret order to protect The Gate, a passage way that can be used to give birth to the vilest evil. With the tireless help from her co-worker Tim, the two set off to stop The Gate from potentially destroying Dani’s life…or the world.

“Movies like “Curtain” are the reason why I enjoy writing about them so very much. One tiny event, an event anyone would think couldn’t be turned into a full feature film, snowballs through the pages of a script…”Curtain” has a particular taste of comedy that’s favorably dry and on-point synced well to the horror mystery engulfing the genre. Director Jaron Henri-McCrea becomes a force to be reckoned with paired to the talented actors Danni Smith, Tim Lueke, and Michael Monahan. “Curtain” is everything that’s right with horror-comedies and nothing short of excellent independent filmmaking.

#7 – Accidental Exorcist – 2016

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Synopsis: Unorthodox exorcist and hobby writer Richard Vanuk lives a depressing and humble life full of endless booze and filthy altruism. Driven by the need for alcohol and an underline desire to help possessed strangers for a small fee, Vanuk barely maintains his own sustainability. With each challenging case of demonic inhabitance, the poor full time exorcist, and part time writer, expels demons from their misfortunate hosts into his own wretched soul, draining his self-respecting humanity out of him one demon-expulsion job at a time. The deeper Vanuk spirals downward into nihilism and the deeper he goes into severe debt, the choice to withdrawal from the toll of exorcising demons becomes no longer an option, but a fruitlessly fateful venture to just surviving in a world that’s scarce of good people.

“My second undertaking into a Daniel Falicki horror film has the “Awaken The Devil” director batting a solid hundred percent on the ever honest critique block, going a strong two-for-two with his latest film, 2016’s “Accidental Exorcist,” that’s drenched with a despair atmosphere that swallows the intentionally pathetic character who is granted only a glimmer of unattainable hope for a good life. The writer-director has a keen eye for developing horror in various comedic, dramatic, and absurdly berserk formatted segments, delicately defining details to capture memorable moments. Falicki also stars as his own character, Richard Vanuk, and Falicki charms the audience by creating a likable anti-protagonist whose cavalier about demonic possessions and begrudged by a “corporate” employer who pays very little for the precision of demon banishment; this same company performs a stigmata on him after every exhausting job, discarding his limp, unconscious body in a different snow covered park afterwards”

#6 – Francesca – 2015

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Synopsis: Fifteen years after the kidnapping and disappearance of Francesca, the young daughter of renowned poet and stage performer Vittorio Visconti and his wife Nina, a string of brutal murders by a relentless psychopath links itself to the case of missing Francesca and sparks community outrage with the deaths that are connected with Dante Alighieri’s The Divine Comedy. Detectives Moretti and Succo eagerly take on the case, that’s heavy with burden, to quickly apprehend the murderer but to also solve a more than decade old missing child case. As the bodies pile up and Moretti and Succo attempt to get closer to a resolution in the midst of grave public panic, a web of past dark secrets depict a convoluted picture surrounding the private Visconti family that may or may not be directly involved in what really came of poor young Francesca.

“The sweet, bloody sweet giallo genre is not dead! The crime mystery thriller with shockingly grisly murders is alive and well and embodied in the soul of Luciano Onetti’s 2015 sophomore directorial that’s co-written with his brother, Nicolas Onetti. The Onetti brothers’ “Francesca” release gets a treatment deserving of kings with a gloriously and beautifully illustrated cover and inner lining that contains powerfully-packed 3-disc Blu-ray and DVD combo set distributed by the artistic gorehounds Unearthed Films and the multifaceted MVDVisual. Complete with an inscrutable and deranged killer that’s greatly diabolical in their own insane world built upon the Buenos Aires born director’s passion for Italian horror, every giallo loving attribute has been meticulously applied to “Francesca” from the shrouded killer to the use of characterizing the antagonist with simply their leather bound, throat-gripping hands high above the clicking of offbeat high heals not casted far from a creepy doll used to motif the killer’s ominous presence. Blood red violence streaks of eye disfigurements, or any facial disfigurement, throughout a script that’s much attuned to the structure and content, reigniting a flame of hope in a declining genre to which the 33-year-old Onetti appears to hold very dear to his heart.”

#5 – Crush the Skull – 2015

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Synopsis: Master thieves Blair and Ollie have known heists for most of their young lives but promise themselves one more job before a long overdue retirement with their stashed earnings. When the job goes South and Ollie gets pinched by the police, Blair has to use all of their savings and borrow on top from a ruthless crime boss to utilize his connections for Ollie be released from jail. With the first payment due in a week, Ollie and Blair have no choice but to put their lives in the hands of Blair’s brother Connor, a two-bit thief with a seemingly full-proof plan of scoring big at a vacant vacation home. The only problem is is that the home is a murder den for a deranged serial killer and with being trapped from the inside, Blair, Ollie, Connor, and their crew are being separated in a maze of murder with no way out.

““Crush the Skull” is a cleverly scribed 2015 horror-comedy from writer-director Viet Nguyen and co-star, co-writer Chris Dinh that was molded from the brimstone and fire of two successful short films, “Crush the Skull 1” and “Crush the Skull 2,” and a modest crowd funded financial backing that brought this witty and terrorizing film to fruition. Seriously, it’s been a long time since I’ve been entertained and jumpy with a film, especially one that’s working with a little more than a $75,000 budget. The superb character development and dialogue produces lively characters built upon an established dynamic group of tight knit actors whose on screen chemistry is beyond just a spark. Much of the character interactions are comical with a wrap around horror story and the mixture is purely potent and damn good that’s trying to pinpoint whether “Crush the Skull” is a dark-comedy or a flat out thriller.”

#4 – Vampyres – 2015

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Synopsis: A dense English forest surrounding a decaying manor house sets as the hunting playground for a pair of seductive female vampires, Fran and Miriam, who have reigned a disconcerting terror through the area’s local inhabitants. When Fran lures and imprisons a touristing male as her bloodletting sexual hostage, Miriam believes Fran is diverging into a dangerous game of simply playing with her food for too long. Miriam proves to be right when a trio of campers stumble upon the vampires’ manor lair, causing a fair amount of distraction when the three friends attempt to uncover the secrets of the area and the myths of the house that will expose the true and terrifying nature of the two vampires. A mistake the three may wish they never would have made.

““Vampyres” is a Victor Matellano 2015 rendition of the 1974 José Ramón Larraz directed abundantly sensual, over sadomasochistic vampire film of the same title but also known as “Vampyres: Daughters of Darkness.” Matellano’s remake faithfully follows the original storyline and with the assistance of Larraz himself tacked on as a credited writer, Matellano was able to keenly hone in on the ambient tone and the graphic slaughtering display the story necessarily requires to quench it’s own thirst for blood. Let’s also not forget the sex, the sex, and the sex that absolutely sinks it’s teeth into of most scenes. Long time has passed since the rebirth of an erotic creature of the night; a plague of mindless ferocity has been the modern vampire. From “Blade” to “The Strain” to one of the more recent reviews of an independent film in “Black Water Vampire,” a dark cloud of a deformed and mutated species of bloodsuckers have been more popular with the masses. Matellano’s “Vampyres” is a love song to the erotic European vampire that’s powerfully seductive, classically gothic, and simply pure blooded with two fantastic femme fatales.”

#3 – Counter Clockwise – 2016

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Synopsis: Ethan Walker is a brilliant scientific engineer, though he doesn’t look it with his long fire-hued beard and pot-belly midsection, but Walker, along with his colleague, believe to have accomplished the impossible: teleportation. When Walker decides to try his machine on himself, the realization of something terribly wrong overwhelms him. Walker didn’t invent a teleporter, he accidentally constructed a time machine, sending himself six months into a grim future where his wife and sister have been brutally murdered and he’s the sole prime suspect. The only way to make sense of the future and to solve the crime against him is to travel back to the past multiple times to unravel a sinister plot and stop the murder of those close to him.

“To simply and conventionally tagline “Counter Clockwise,” George Moise’s 2015 directorial debut can easily be described as Terry Gilliam meets David Fincher. Part sci-fi thriller part dark comedy, the adventure of Ethan’s misadventures ingeniously signifies a harsh outlook on the saltiness of our predetermined universe while encountering outrageous and weird characters along the time warp. Ethan, no matter what he does or how he does it, has to use the accidental time machine to thwart the brutal death of his wife and sister and while his reasoning sounds fairly comical being the groundwork of what Albert Einstein calls madness, on-screen it’s rather heartbreaking and tragic to see this guy, an everyday looking joe, desperately attempt to deconstruct, from the unsolicited help of his future selves, a dastardly plot that will destroy everything he holds dear.”

#2 – The Witch – 2015

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Synopsis: Set a few years after the 1620 arrival of the Mayflower ship, a faith-entrenched Puritan family becomes ostracized by a tightly knit plantation community and leave their home to settle near a woodland landscape. The family of seven build upon their quaint home, growing crops for food and for trade, but when the youngest child, an infant, disappears into the depths of the dark woods, the family slowly starts to unravel at the inexplicableness of their loss. The once tranquil and beauty of the woods dreadfully alter into a coven for dark and fear inducing figures that root themselves between the family binds, untying their sanity and faith that once held them close and separating them toward a Godless path of destructive witchery.

“Writer-director Robert Eggers’s “The Witch” steps into a time machine and travels back in time to the New World era and delivers an American Folklore horror film that’s honestly genuine and deeply haunting. Eggers constructs a mood and tone stripped of comfortable commodities from the moment the family takes on the New World for the very first time away from the plantation. The isolation is immense, the tension is thick, and the cast and crew dynamic squeezes tight around the heart, ripping out every raw emotion and turning the display into a gut-wrenching performance. Eggers had done the appropriate leg work by researching various diaries, folklore tales, and recorded accounts of the time to achieve elaborate detail; even the dialect is true to the period.”

#1 – The Devil Lives Here – 2015

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Synopsis: Honey Baron, seeps from a cursed slumber to reclaim his once profitable Brazilian manor home. Also, every nine months, caretakers of the manor home resurrect Bento, the once voodoo practicing slave to the malicious Honey Baron, to fortify the longstanding damnation. Until four friends gather to invoke the myth in jest, lightly treading over the forsaken manor home, and getting themselves unwittingly involved in the releasing of Hell on Earth. Caught in the middle between the Honey Baron and Bento, there’s nowhere to escape, nowhere to hide, and noway to distant themselves from an ancient wickedness.

Directors Dante Vescio and Rodrigo Gasparini’s “The Devil Lives Here” is sorely what the horror community needs and desires, an original vision of spine-tingling Brazilian folklore horror. It’s a damn good story that’s engrossingly rich with captivating characters, virtuous and villainous, simultaneously breeding a delectable devil in São Paulo actor Ivo Müller. From the opening scenes of Müller’s sadist applications upon a humble whimpering slave to the highly climactic and unforgettable shocking end, Vescio and Gasparini details every inch of reel with patience, organization, realism, and a sense of admiration for one of a kind antecedent horror films and concocts a molotov cocktail spiced with numerous Brazilian folklore.

Time Travel to an Evil Future! “Counter Clockwise” review!

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Ethan Walker is a brilliant scientific engineer, though he doesn’t look it with his long fire-hued beard and pot-belly midsection, but Walker, along with his colleague, believe to have accomplished the impossible: teleportation. When Walker decides to try his machine on himself, the realization of something terribly wrong overwhelms him. Walker didn’t invent a teleporter, he accidentally constructed a time machine, sending himself six months into a grim future where his wife and sister have been brutally murdered and he’s the sole prime suspect. The only way to make sense of the future and to solve the crime against him is to travel back to the past multiple times to unravel a sinister plot and stop the murder of those close to him.
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To simply and conventionally tagline “Counter Clockwise,” George Moise’s 2015 directorial debut can easily be described as Terry Gilliam meets David Fincher. Part sci-fi thriller part dark comedy, the adventure of Ethan’s misadventures ingeniously signifies a harsh outlook on the saltiness of our predetermined universe while encountering outrageous and weird characters along the time warp. Ethan, no matter what he does or how he does it, has to use the accidental time machine to thwart the brutal death of his wife and sister and while his reasoning sounds fairly comical being the groundwork of what Albert Einstein calls madness, on-screen it’s rather heartbreaking and tragic to see this guy, an everyday looking joe, desperately attempt to deconstruct, from the unsolicited help of his future selves, a dastardly plot that will destroy everything he holds dear.
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Penned also by George Moise, based off a story by brother Walter Moise, along with the film’s lead star, Ethan himself, Michael Kopelow, “Counter Clockwise” will change the way critics will perceive time travel storylines by not as a means of zipping back only once to change the forsaken past, but as a respawning Shakespearean tale of tragedy in order to continue to amend a hapless situation. A respawned Super Mario had more luck saving Princess Peach through the thicket of Koopa Troopas and the fire breathing Bowser. Though the character Ethan repeats his voyage, the way “Counter Clockwise” is written doesn’t convolute itself in the repetition, staging clues as a window into beyond the present and generating eerie and problematic, if seriously disturbed, episodes that doesn’t give Ethan a minute from tirelessly being objective. Combine those elements with George Moise’s neurotic direction and the result seizes to capture not only science fiction aficionados, but movie enthusiasts of every category in this genre-breaking feature. From the first moment of the opening scene, a strong familiar inkling of Ridley Scott’s “Alien” washes over you; the subtle hum of machinery, the slow panning from side-to-side, the very soft touch George Moise applies is uncanny and so endearingly respectful that the direction doesn’t feel like an absolute rip of Scott’s 1979 space horror classic.
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Kopelow is the centerpiece that glues the story whole. As Ethan, Kopelow’s gentle giant approach is such a stark contrast to the surrounding darkness that has embodied nearly every other location and character, even his lip flapping, hard loving mother. Extreme opposite on the polar spectrum is voice actor Frank Simms as Roman, head of major corporation aiming to steal pioneered technology from Ethan at any cost. Simms’ talent has two settings in this film, hot and cold; his sound binary method works to composite a character so reasonably rational that when Roman snaps, a trickle of pee squeezes out and runs down your leg at his abrupt and menacing counter personality. The rest of the cast follows suit with pinpoint precision on their coinciding characters and even the eccentric cameo performances were otherworldly good from Chris Hampton’s relishing water fountain patron to Marty Vites one-eyed creepy landlord. Ethan’s landed in bizarre world that hums a very familiar tune in Terry Gilliam’s “Fear and Loathing in Las Vegas” while the amount of downbeat content spurs moments of gritty David Fincher thrillers, especially in one particular scene with the brawny New Jersey native Bruno Amato being the ultimate bad guy henchman by raping a dead woman for spite and for pleasure. The cast fills out with Devon Ogden, Kerry Knuppe, Joy Rinaldi, Alice Rietveld, and Caleb Brown.
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The Sex Scene Crew production, “Counter Clockwise,” is not an effects driven project. The indie sci-fi film relies on the trio of coordination efforts in refined editing, camera angles, and practical effects to deliver the intended message. Like I said before, George Moise is neurotic, providing the attention and detail to every scene as if a climatic money shot. Value is placed in the story and in the direction rather than diluting and cheapening with overrated, big budget computer generated special effects that can snap a film’s heart and soul like a thin twig. The biggest effect comes in the form of a composite, placing two Ethans in the same scene and working action off each other. Even the time traveling sequences are a basic edit that’s well timed with simple lighting techniques, gentrifying low budget films more toward a respectable level of filmmaking.
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Artsploitation Films’ DVD release of “Counter Clockwise” is an edgy rip in space time continuum sci-fi thriller presented in a widescreen 2.35:1 aspect ratio with Dolby Digital 5.1 surround sound audio option. Image quality pars well with modern releases and the same can be said about the audio, especially with the prevalent dialogue. Aside from conventional specs, Moise adds a sensory surplus to stimulate sight and sound hell-bent to strike an unnerving chord strummed simultaneously with providing an awesomely surreal effect. The DVD contains bonus features include “The Making of Counter Clockwise featurette, going behind the scenes of pre-production, production, and post-production. There are also five deleted scenes with commentary and a trio of commentary tracks that include the director, director and editor, and director and co-writer. “Counter Clockwise” is 91 minutes of time hopping suspense, packed with adversity and pitch black humor from start to finish and finish to start.

Click Above to Time Travel to Amazon and Buy this Title Today! (And not six months from now…)