Wes Craven’s Evil After School Special! “Summer of Fear” review!


Julia Trent is left orphaned after the fatal accident of her parents that involved them falling to their fiery deaths when their car careens off a cliff attempting to drive their housekeeper home. The only family Julia has left is the Bryant family whom she hasn’t seen in over 15 years. The Bryants welcome their niece with consolation and open arms, inviting her to room with her cousin, Rachel. Rachel has the perfect life: a loving mother and father, a cute boyfriend, and the ability to ride and compete in horse competitions. However, Rachel’s world is upended when Julia enters her life and something just doesn’t seem right when Julia slowly begins to push Rachel out of her comfy position, bewitching the men in her life to turn against her and being the center of a number of considerable accidents. As Rachel suspicions grow and she becomes further attached from all those that surround her, an investigation ensues with Rachel at helm to retrieve what’s rightfully her’s from an underlying evil.

The late Wes Craven made for television movie “Summer of Fear,” also known as “Stranger in the House,” is a living relic; a time capsule type horror this generation will find difficult to grasp, like Nintendo’s Gameboy or music tape cassettes, with thrilling suspense unlike today’s cookie cutter product. After he shocked audiences with the controversial “The Last House on the Left” and crafted a shifty dream killer in “A Nightmare on Elm Street,” director Wes Craven embarked on a venture into the television movie scene that didn’t spur graphic content, but focused putting the supernatural in the forefront of reality with a similarity to that of “Tales of the Darkside” or “The Twilight Zone,” captivating audiences sitting in front of the boobtube with twists and thrills in a Halloween premiered NBC movie. Based on Lois Duncan’s novel of the same title and written for television by Glenn Benest (who also wrote another Craven directed picture “Deadly Blessings”) and Max Keller, Wes Craven greatly accepted the challenge of reaching a broad audience without being subversive and explicit, sharing his vision with another living horror icon in the starring role.

“The Exorcist’s” Linda Blair has a role that’s certainly a far cry from the possessed Reagan, but the 1978 “Summer of Fear” had opened up a sleuth-type role for Blair that made her more of the hunter than the victim. Blair’s raspy voice and spoiled girl attitude completes the privileged daughter of the household compared to her tall and charming rival, Julia Trent, in “Necromancy’s” Lee Purcell. Purcell compliments Blair all too well and, together, the on screen tension is ever present, even if slightly over exaggerated. From that point on, “Summer of Fear” was filled in by other great talent such as Jeremy Slate (“True Grit” ’69), Carol Lawrence, a very young Fran Drescher in the beginning of her career, Jeff McCracken, and Jeff East (“Pumpkinhead”), but the more fascinating role, that was hardly explored, is awarded to MacDonald Carey, the resident occult professor of the neighborhood. Carey’s has a very old school actor with a performance very familiar to Robert Mitchum and the veteran actor’s vast career felt very small here in the catalytic role as the confirming source for Rachel in her suspicions.

In addition to the withdrawal of the contentious content, “Summer of Fear” entertains on a minimalistic special effects stage that still pops with jaw-dropping suspense and still caters to an, even if slightly dated, story altering moment that rockets toward a maelstrom finish. All the while, Lee Purcell’s character has such glam and beauty that the bewitching sticks overpoweringly raw as a telling moment that beauty isn’t all that’s wrapped up to be and people can be ugly on the inside. Through brief glimpses into Julia Trent’s authentic past, including the mountainous Ozark retreats, one could conclude the story’s ultimate ending, but the fact that the actors embrace their rolls and Wes Craven connects himself enthusiastically to the project makes “Summer of Fear” a solid small box show of terror.

Doppelgänger Releasing releases the Wes Craven classic “Summer of Fear” for the first time onto Blu-ray home video. Transferred to a 1080p resolution, the presentation is certainly made from TV in the Academy, 4:3 or 1.33:1, aspect ratio. Image quality sporadically has moments of definition instability where the image goes fluffy or soft and amongst the duration’s entirety are a slew of white specks and noticeable grain, but the transfer remains solid over the decades that display a grandeur of vivid coloring despite some scenes of with an overburdening washed yellow tint. The English 2.0 DTS-HD Master Audio cleanly presents the feature with not a lot of flashy audio moments and the dialogue is clean and clear suggesting that the audio track aged very well. Bonus material includes an audio commentary track by director Wes Craven, an exclusive interview with Linda Blair, photo and poster gallery, and concluding with the original 1978 trailer. “Summer of Fear” might be obsolete in modern ways of terror filmmaking, but Wes Craven imprints a searing cult classic that brandishes more than just guts and gore. Instead, the father of “Scream” continues to impress beyond the grave, thanks to distributors like Doppelgänger Releasing, with the filmmaker’s expansive range that debunks many popcorn horror goers’ assumptions about the director and his films. “Summer of Fear” simply showcases that Craven was a jack of all trades when coming down to brass tax in creating a terrifying story.

Buy Summer of Fear at Amazon!

Evil Hate Trumps Good Love! “The Hatred” review!


In 1968, former Nazi occult officer, Samuel Sears, runs a strict farm in rural America, restricting his only daughter Alice from the corruption of the outside world with an infinite workload, and Alice violently rebels against her tyrannical father, Samuel kills her with rage. Hidden deep in the dark basement of his plantation home, a powerful Nazi-occupied amulet, charged by fear and hate, feed on his rage and fear and curses him to do the unspeakable. In the present day, four college girlfriends retreat to a friend of the family’s recently purchased foreclosure farm house, the abandoned and forgotten Sears farm, for a relaxing weekend getaway, but after night of drinks and games, the amulet reignites an ominous and dark cloud, reviving long forgotten, evil spirits who search for an endless quantity of fear and hate and will stop at nothing to swallow the souls of each and everyone inside the Sears’ estate home.

“The Hatred” is the 2017 haunting thriller from writer-director and Brooklyn native Michael Kehoe and produced by long time “Halloween” franchise producer Malek Akkad. Kehoe tells the story in two parts with the first delving in the Sears family, getting a first hand look at the hardworking German mennonite character that is Samuel Sears whose a former war time Nazi that’s settled down and raised a family in America’s backcountry. From what can be gathered about Samuel Sears, the farmer protects his past identity and isn’t ashamed of yet, but rather proud of his accomplishments alongside the Führer. All of the attributes of a proud countryman come suddenly alive when he receives a mysterious package containing the amulet, a photo of him in full Nazi dress standing with Adolf Hitler, and a signed letter personally acknowledged by the Nazi leader himself offering him the amulet as a gift for his fine work during the War and that ultimately becomes his downfall, pitting him against his family. The second part of the film tells a more uncharismatic story of four young girls staying at the Sears farm in present day. One of the girls, Regan, just finished college and is about to start a new job and what’s her ideal getaway with her girlfriends? An old (haunted) farmhouse.

“Wishmaster” himself, Andrew Divoff, gives “The Hatred” much more life despite his joyless character Samuel by somehow giving the former Nazi, now American farmer personality traits that are haunting in an unforgettable performance during the first act. The same can not be said about the four girls – Regan (Sarah Davenport), Layan (Gabrielle Bourne), Samantha (Bayley Corman), and Betaine (Alisha Wainwright). There’s no comparison as Samuel is a superiorly written and finely performed character than those he stalks beyond the afterlife. The gaggle of women offer no substance in the face of adversity or just plain ole progression of their character. Numerous times does Regan’s sick grandmother have scenes and Regan passively forgets about her poor grandmother’s health or Samantha’s uncanny interesting in history that really goes no further than the random facts that she spews. Regan and Betaine seem to have this close knit relationship, yet it founders and is suddenly cut short when all hell breaks loose. There are no personal connections established, offering little-to-no worth to their lives when Samuel comes calling for their souls, and leaves “The Hatred” in the take-it or leave-it column in the second and third act. Darby Walker, Nina Siemaszko, and Shae Smolik complete the cast.

Kehoe does display intense, nail-biting visuals with the materialized embodiment of fear and hate as well as sly editing with a scene involving Shae Smolik’s Irene, a little girl whose friends with Regan, who asks Regan to check under her bed, for supposed shadowy figure. When Regan pulls back the skirt to look, she sees another Irene putting a finger to her mouth, hushing Regan, and saying, “that’s not me,” as she points upward toward Regan’s impending doom. The heart-stopping moment will tear eyes away from the screen in anticipation of what Regan will see atop of Irene’s bed. However, that’s the sad truth in the extent of Kehoe’s story; a story riddled with plot holes and underdeveloped subtexts in which one in particular pertains to the aforementioned subplot of Regan’s ill stricken grandmother that goes undercooked when attempted to connect with the supernatural portal that of the Sears farm home. Characters disappear to never be seen again, character motivations go unexplained, and backstories are like a hazy dream and the entire ensemble is a mismatched, muddled mess in a premise that should have continued with the motif of the Nazi infiltration into America and less about scaring the wit out of witless girls with the creepiness of an alternate dimension seeping out of an unholy amulet.

The Lionsgate Films’ “The Hatred” is presented by Anchor Bay Entertainment on Blu-ray and UltraViolet home video in a 2.40:1 aspect ratio from an encoded AVC 1080p transfer that’s sleek and well lit, especially capture Samuel’s earthly and grim nature. The overall atmosphere doesn’t particular hone in a horror palette design, but offers realistic ventures into brightly lit areas of dark scenes. Details are fine in more of the natural aspects of the film whereas the CGI goes soft at times, but still very well detailed. The English language Dolby TrueHD 5.1 keeps Kehoe’s film buoyant with a leveled mix through and through with clear fidelity and good, if not great, surround sound output. Instilled with conventional horror schemes, burdened with design flaws, and unfocused in it’s inability to pin down an narrative identity, Malek Akkad and Michael Kehoe’s spook house feature “The Hatred” requires much tender loving care to uplift this unkempt cliche horror into a coherent thriller.

“The Hatred” on Blu-ray+UltraViolet!

Evil Gets Trashy in this Giallo-Inspired Mystery! “Three Tears on Bloodstained Flesh” review!


Before being butchered in the woods of a small town, a frightened young woman, Lexie, sends her estranged Uncle Dominic a letter desperately asking for his help. Plagued by his own dark past and a penchant for being hot tempered, Dominic drags his wild, coked up daughter Kendall to his quaint home town which he had long ago abandoned. Most town folk don’t want Dominic snooping around, investigating a town that faces a sinister murder spree under the unmotivated supervision of a perversive and power hungry eye of the local sheriff. Dominic’s anger rages on, fueled by sheer vengeance, as he searches answers for the cause of his niece’s untimely and gruesome death in which three strips of her flesh were torn from her bloodstained thigh, but the closer he gets to the unbearable truth, those closest to him are swallowed by the town’s harboring unimaginable secret and that’s when Dominic’s true violent calling becomes unleashed upon the unsuspecting locals.

Self-described as a “modern, Midwesternized spin on the Giallo,” Jakob Bilinski’s “Three Tears on Bloodstained Flesh” is the writer-director’s comprehensive ode to the multifaceted cult genre. Set on location in Evansville, Indiana, Bilinski unapologetically implores an outrageous white trash horror story that can drop just as many F-bombs and be just as sadistically crude as any Rob Zombie production, but on an indie budget. A budget with unlimited constraints when pinpointing a genre identity as “Three Tears on Bloodstained Flesh” has the word play of a Giallo-like inspired title, even accompanied with masked antagonist armed with a switchblade in a complex plot, but also sharply pivots and dabbles heavily in subgenres such as the revenge thriller, the occult, and torture porn that engages a plot twist, after plot twist, after plot twist up until the very end.

Bill Gobin stars as Dominic and Gobin’s appearance and actions channel very similarly that of Michael Chiklis’ Vic Mackey from F/X’s hit cop drama “The Shield,” but with an important piece of Dominic missing to fully sell the performance. Dominic’s tender melancholy moments of his lost Lexie are to bring out the human side in a cold and stern tough guy, but Gobin lacks that rightful emotion, replacing the tearjerking moments with more of the icy blank stare used in just about ever other scene and to the point where Gobin just might smack his tears back into his tear ducts. Kendall (Kayla Crance) is the constant bittersweet thorn in Dominic’s life as the father and daughter are more like father versus daughter. Crance challenges Gobin very well, even overpowering him in select scenes, protruding a defiant brat without an inkling of remorse until bodies start to really pile high. While Dominic and Kendall are certainly scribed as emotionless mavericks, Stella (Angela Steel) brings us down to a more sensible and realistic character who grieves for her slain daughter with alcohol and depression while also rekindling a once extinguished flame in a surprising twist of events. The best character performance overall goes to Jim Dougherty as the local sheriff who can stand toe-to-toe with Dominic and spitfire insults between Dominic and Sheriff Rex scribed very well for the Indiana University studied actor. Rounding out the cast is Scott Ganyo, Rosalind Rubin, and Grant Niezgodski.

Perhaps a little too ambitious trying to compact a endless frontier, Grand Theft Auto world story into over two hours, clocking in at 142 minute runtime, that feels every minute of it. There’s, perhaps, too much going on here with the potluck genres and plot twists that once the apex of the story has finally been reached, the first acts take on a whole different significance that doesn’t build to the necessary resulting finale that ultimate defines Dominic who, in the beginning, starts off strong, a tough guy who doesn’t take crap from anyone and that’s including his rebellious daughter Kendall, but then flounders just after reaching the small town, interacting passively with his sister Stella and a few townies, to the point where Dominic is just an inquisitive visitor. Dominic’s purpose is the push, push, push the town folk into giving the answers he seeks, like Porter tracking down his share of the stolen money in “Payback;” instead, Dominic’s is the one being pushed to the point of breaking and, finally, then do we see the Dominic’s dark side and his particular skill set in torture and manipulation.

Unearthed Films and MVDVisual presents a not rated 2-disc DVD collector’s edition of Jakob Bilinski’s “Three Tears on Bloodstained Flesh.” The 2014 Cinephreak production is display in widescreen, 1.78:1 aspect ratio, and the image quality above par with a clean picture composited with natural color tones and colorful filters to give some Giallo cinematography charm. The CGI bloodsplatter near the end is, well, CGI, but the run of the scene is fun and brutal that the generated pseudo-blood is used appropriately. The Dolby Digital 5.1 dishes out a well-balanced concoction of ambiance, soundtrack, and dialogue, with the dialogue being clean and clear even during more intense moments. Disc one contains the feature film with option audio commentary by writer-director Jakob Bilinksi and star-producer Bill Gobin. There’s also commentary by Cinematographer DP Bonnell along with Bilinski on the track. Disc two contains even more with a making of piece entitled “Peeling Back the Flesh,” 21 deleted and extended scenes, a gag reel, auditions, and Unearthed Films trailers. Under a stellar presentation within the plentiful content of a 2-disc set from Unearthed Films and MVDVisual, “Three Tears on Bloodstained Flesh” is certainly a “modern, Midwesternized spin on Giallo,” plus much, much more when considering the other genres that might have diluted the foul-mouthed scripted story and left the focus more fuddled, but happens to maintain a fun, semi-gory approach that can’t be argued.

Purchase “Three Tears on Bloodstained Flesh” today at Amazon!

Gory Evil Experiments With Life and Limbs! “The Curse of Doctor Wolffenstein” review!


All Doctor Victor Wolffenstein wanted to accomplish is to invent an occult practiced serum that would permit eternal life, but his pure genius was corrupted by an egomaniacal drive during his time of research in a small village of 1930’s Germany. When Dr. Wolffenstein began gruesomely experimenting with the body parts of the resident dead, local inhabitants labeled him an abomination against humanity and God and sought to expunge him from life by cutting out his tongue and burying him alive in a wooden coffin. Before his ultimate fate, Wolffenstein injects himself with his latest serum batch and curses the villagers prior to his damnation. His serum works, giving the malevolent doctor decades to perform his vital experiments for the next 80 years, but portions of his body start to decay and rot. To keep his tissue viable, this time he steals body parts from the living!
vlcsnap-00004
Director Marc Rohnstock’s German gore film “The Curse of Doctor Wolffenstein” finds residence on a callously displayed Blu-ray/DVD combo set courtesy of the blood aficionados over at Reel Gore Releasing. While the premise sounds like nothing more than one deranged doctor’s thirst to slice and dice at his little black heart’s whims, running parallel to Wolffenstein’s monstrosity narrative done in the dank dull light of a mad scientist’s bloodstained lab is the declining story of five young partygoers living life to the fullest travel to a rave festival and when their car breaks down in an eerie and isolated village, beginning the Rube Goldberg process of landing on the front door step of Doctor Victor Wolffenstein’s castle home. The two stories are structured almost purposefully divisive to distinguish on one hand the relationship ups and down of Mike, David, Tina, Jenny, and Emily and while on the other hand, the good doctor straps victims to his cold metal slab, performing invasive experiments on them, and finishing them off by slashing right into the thick of the noggin with a machete, solidifying a hard motif that eventually becomes a the doctor’s MO.
vlcsnap-00018
A big part of the Rohnstock 2015 gore film is Wolffenstein’s numerous machetes to the cranium kill that explodes a geyser of dark red blood all over the place. The special effects and makeup by Oliver Müller literally had the blood rushing to brain, splitting the skull to unleash the blood splatter, and Müller does offer a bit more than sustaining as a one trick pony. Realistic arm dismemberments and reattachments, decapitations, exploratory surgical openings, and much, much more are a part of this gore-God’s repertoire. So much gore is present that gore itself becomes a character. That’s saying something since Rohnstock exploits his short lived, ill-fated red shirt characters that roster many recognizable Germans such as porn star Lena Nitro and one of the great gore and shock directors Olaf Ittenbach!

Without a doubt, “The Curse of Doctor Wolffenstein” is a labor of love that subtly borrows from the films of the director’s fandom. There’s a bit of “Evil Dead,” a piece of “Night of the Creeps,” and a flair of Hammer Horror in a mix that defines Rohnstock’s writing and director perspective and style. As the co-founder of the film’s production company Infernal Films, Rohnstock and his Infernal Films team have free reign over the overall structure, style, and tone of this fantastic flesh filleting of a film. What Infernal Films couldn’t really control was the relatively young cast of Isabelle Aring, Robin Czerny, Roland Freitag, Stephanie Meisenzahl, and Julia Stenke whom are pitted against the dual role performance of Mika Metz, playing a miserable mechanic and Doctor Wolffenstein.
vlcsnap-00016
Reel Gore Releasing’s gorgeously slipcovered 2-disc Blu-ray and DVD combo release doesn’t hold back standing behind a flick that gallops in blood, bares it all with female nudity, and even has an orifice invading creature with enough ooze to lube it’s way down with ease. Video quality wise, the image is heavily showcased in a cyan hue that’s feels unnatural. The day or brighter scenes look good enough for hi-def in the widescreen presentation in a 16:9 aspect ratio. The German DTS-HD 5.1 option with optional English subtitles is flawless in all areas of the audible tracks. There is also a DTS-HD 2.0 with optional subtitles. Bonus features include a showcase reel in a behind-the-scenes featurette, a German only bloopers reel, “Trapped & Stabbed” short film by director Marc Rohnstock, the film’s trailer, and a still image slideshow. Gore films have always been a hit or miss with this review, but “The Curse of Doctor Wolffenstein” has reclaimed my faith in the intensity of content that’s not suitable for most viewership in one way or another.
vlcsnap-00017

“The Curse of Doctor Wolffenstein” Blu-ray?DVD Combo! Get your GORE on!