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.

The Myth. The Legend. The Evil…. “Leatherface” review!


Texas 1955 – the pride of the Sawyer family was not their tattered farm, but a bloodline taste for something else – callous murder and a penchant for human flesh. Verna Sawyer sought to instill that pride into her children, especially her youngest, Jed, but when Hal Hartman, hard nose local Sheriff, learns that his daughter becomes victim of the Sawyer’s suspect nefarious carnage, he executes the law to his advantage, deeming the Sawyer house unfit for children and removes Jed from his labeled degenerate mother Verna. Ten years later, a group of teenage patients escape a mental hospital, kidnap a young nurse, and reek bloody havoc in their voyage to Mexico in an attempt to elude the very same lawman who put them away, but this time, Hartman isn’t adhering to the law, straying off his moral compass to pursue a vengeance mission against unprincipled youth that’s personally driven by Jed and the Sawyer family. Once the embattled Hartman catches up with his prey, a series of gruesome events lead to the creation and the construction of one of the most notorious killers Texas will ever see.

I love a good origin story. There’s something to be said about understanding the commencement of character, to be in the shoes of a long running icon, and to be able to sympathize with their story no matter how atrocious. Directors Alexandre Bustillo and Julien Maury’s 2017 “Leatherface” does just that with the film’s own origin enlightenment on how the chainsaw wielding, human skin mask wearing psychopath came to fruition inside a home of unspeakable brutality and influenced externally by a unforgiving society. From a script penned by Seth M. Sherwood, “Leatherface,” serving as a direct prequel to Tobe Hooper’s “The Texas Chain Saw Massacre,” briefly touches upon the preteen years to setup the catalytic road trip from hell, birthing a monster in a time of adolescence and if part of a legacy spanning over forty decades inspired by Ed Gein, the real life human skin wearing and notorious serial killer, then you damn well know “Leatherface” has to be genetically predisposed to be ultra-violent drenched in blood splatter. The French filmmaking duo, who’ve helmed 2007’s “Inside” and had directed the “Xylophone” segment in “The ABCs of Death 2,” nail the dark and gritty tone that not only breathes a gassy and exhaust fumed life into a massive flesh-ripping chainsaw, but also inflicts heartlessness across the story board into a heartfelt homage to the characters and to the story fathered by Kim Henkel and the late Tobe Hooper, both of whom were attached as executive producers.

Over the years, many actors have held the mammoth power-drive cutting tool in their hand that’s ready to chip away at flesh such as Andrew Bryniarski (“The Texas Chainsaw Massacre” 2003 remake), Bill Johnson (“The Texas Chainsaw Massacre 2”) and, most famously, Gunnar Hansen, the original Leatherface. However, I’m not going to divulge who the pubescent Leatherface is in the story because the film plays out as a who out of the group of degenerate teens is the son of Verna Sawyer, even though you can easily obtain the information in a simple click and search on Google. Instead, Sam Strike, James Bloor, and Sam Coleman portray the three escapees who are accompanied by an equally insane sociopath in Jessica Madsen and an eagerly novice kidnapped nurse by Vanessa Grasse. Amongst a sea of English actors are a pair of vets to shepherd the young cast and be the embattled bookends to the dawn of an icon. Lili Taylor (“The Haunting”) and Stephen Dorff (“Blade”) face off as Leatherface’s mother, Verna Sawyer, who butts horns with a longstanding sheriff, Hal Hartman, with a steadfast vendetta against the Sawyer family. Christopher Adamson (“Razor Blade Smile”), Nathan Cooper (“Day of the Dead: Bloodline”), and Finn Jones (“Wrong Turn 5: Bloodlines”) co-star.

Usually with a pair of directors, two different styles spawn to an end result. With Bustillo and Maury, styles merge into a seamless effort of elegant wonders. Each shot emerges a purpose to the story whether it’s painting an image of the Sawyer’s death house to pulling a one-eighty with characters, the filmmakers ability to combine each element into a single story, that has such a close knit cult following, and still manage to cinematically pull off the atmosphere, the grit, and the gory carnage of a Texas Chain Saw Massacre film is impressive. Cinematographer Antoine Sainer, whose worked previously with the directing duo on the “The ABCs of Death 2’s” segment “X,” has the ever so poised eye that’s able to well-round and solidify Leatherface’s terror tenor, particular exampled in a foot chase scene through a moonlit forest, smoke bellowing out of a growling chainsaw, and a tattered young girl bawling, screaming, and fleeing for her life from a deranged masked killer whose huffing, snarling, and growling during the pursuit.

Lionsgate Home Entertainment presents the Millennium Films produced “Leatherface” onto Blu-ray + Ultra-violet combo disc, a MPEG-4 AVC encoded disc with a 1080p resolution and presented in a widescreen, 2.38:1, aspect ratio that displays the Bulgaria landscape in a yellowish-brown, Texas-like backdrop. Details are noticeably fine that exquisitely reveal the death and destruction of the Sawyers and those who unfortunately surround the family. The English DTS-HD Master Audio 5.1 track evenly distributes and consistently a range of engrossing fidelity, ambient, and dialogue layers. Bonus material includes a play feature with an alternate ending that’s less superior in contrast to the final product, deleted scenes, and a behind-the-scenes making of that includes brief interviews with directors Alexandre Bustillo and Julien Maury, actors Sam Strike, Stephen Dorff, Lili Taylor, and others, and goes behind the scenes in creating the tone and style of “The Texas Chain Saw Massacre” while implementing their own vision. “Leatherface” forces the unsavory and unpleasant down the throats of TCM fans, jamming an attempt to exposition a futile chance to a destined maniac of cannibalistic proportions and manages to mix up the Tobe Hooper’s weathered franchise with a barbaric bruiser of a tale.

“Leatherface” on Blu-ray! Buy it here, today!

Satan’s Cult Seeks to Raise the Dead! “All Sinners Night” review!

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An investigative reporter witnesses right in front of him his wife commit a gruesome suicide in their bedroom. Lana searches for her lost brother whose been missing for over a year. The two combine forces in Taylorsville believing their loved one were connected to a group of satanic followers led by the Reverend Hiram Graves. When the local authorities prematurely close the case on Lana’s missing brother, Lana and the reporter seek the truth and the truth might be more deadly than they’ve ever imagined. Halloween night brings the satanic sect to kidnap five innocent and random women, five sacrificial lambs, in order to bring death back to life.
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As a little piece of Independent cinema from writer-director Bobby Easley, “All Sinners Night” comes from the production company Horror Wasteland Pictures and is brought to DVD by the multi-genre distributor World Wide Multi-Media. Now, if you haven’t heard of filmmaker Bobby Easley, the company Horror Wasteland Pictures, or the distributor World Wide Multi-Media, then now you’re one step closer to being caught up on micro-budget filmmaking and one step closer to viewing lesser known film titles that you won’t normally screen at a theater or even come across in a Redbox inventory. Now, while budget films aren’t necessarily for everyone, I have to say that “All Sinners Night” isn’t the best ease-into segue, but if your mind is open and your cinematic palate is vast then Easley’s film might be right up your alley.
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Easley’s film involves a satanic cult collecting female sacrifices to raise the dead has a slow, unfocused beginning that slightly picks up and gains more focus a long the way, but the momentum begins a little too late to obtain entertainment value and much of the other sorts of value, such as the film’s budget, falls right onto the finale where characters die, faces explode, and blood spills when the black magic ritual begins. The bloodletting is creative, but various scenes, which could have been explored further with death exploitation, use editing techniques to convey and imply death when in reality there needs to be more visceral visual stimulants to show the brutality and mercilessness, especially for satanic cults because they’re one of the realistic forms of horror that exist in the world today and displaying the violence on screen, making it breathe on screen, would scare people more than implied violence.
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The acting is a bit clunky from the lead actors and that drag the story’s motivation down a bit. Brittany Jesse as Lana and Tom Sparx as the reporter try to build a dynamic duo that more or less fizzles and their characters are to partly to blame for their characters bring no real spark to their quest and cause of discovering the truth behind Taylorsville’s secrets. The evangelical preacher Hiram Graves played by Bill Levin has grand on screen physical characteristics to pull off a satan fanatical cult leader, but Levin’s acting doesn’t quite have the range of a twisted lord of darkness pastor and just stays on that horizontal plane throughout the film’s duration. The Texas Chainsaw Massacre’s original grandpa actor John Dugan and horror and sci-fi genre fanboy Sal Lizard headline “All Sinners Night” even though their cameo scenes are short and sweet. I found the one cameo of Indianapolis born and based horror host Sammy Terry, an Elvira type host of sorts, to be welcoming and well-fitting for the film’s gloomy nature and to be a nice shout out to the local Indianapolis horror scene. Lets not also forget about actress Sam Alford and her two courageous scenes of exploited nudity. Alford’s character is of generic and lesser value – like a Star Trek minor character labeled for certain death – and she is the sole kidnapped to bare her chest. I’m sure Easley didn’t mind shelling out a couple more bucks for the Alford’s assets.
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After reading a number of reviews online about the film, the consensus on the Bobby Easley’s shooting style is that “All Sinners Night” resembles the visual stylistics of Italian directors such as Mario Bava or Dario Argento’s with their surrealistic or brooding atmospheres. I would venture more toward a duller hue with the right in your face shot-on-video style cinematography of those from such directors as Brad Sykes or Donald Farmer where as Bava or Argento focused more on vivid and popping colors and symbolic suggestions within their mise-en-scenes.
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The DVD screener is presented in a 4:3 ratio with Dolby Digital 2.0 stereo mix and a 5.1 stereo mix. The full screen video, like I mentioned before as a shot-on-video style, has significant grainy interference, but the video is still watchable as if you’re watching straight from VHS quality. Not necessarily a bad thing but in today’s day and age or unless your intentions were to create a throwback, the video quality should be clean. The coloring is all off too with overused darks making certain scenes incomprehensible. The 2.0 mix and the 5.1 mix stiffens the unbalanced sound quality. Some dialogue emits too low of a range and then in the next scene the screaming is overbearing and crackling out of the speakers. The glam, goth rock or punk rock soundtrack is fairly decent, but the preference and priority should be on the dialogue or the story becomes lost without it. The disc did pack quite a few extras including a gag reel, music video from the band Dead Dick Hammer, interviews, and a trailer for the film and also :Atah Saia”.
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Overall, “All Sinners Night” wears a lot of masks – literally, a large number of extras wear masks as if they raided a Halloween party store, but trying to piece together a story that tends to omit key elements or strays away from trunk of the plot is difficult and, basically, one would just need to take the film for what it’s worth, the epitome of independent filmmaking. The effort of introduce homage and the effort to construct a brooding atmosphere makes the Dr. Jekyll side of me admire this film, but the technical and educated Mr. Hyde side of me can’t ignore the obtrusive flaws. In short, rent this title to be adventurous on a forlorn night.

2014 Halloween Commercials #2: Geico’s “Its What You Do” – A Texas Chainsaw reference!

Here’s your second horror commercial for this years Halloween! Straight up reference for the slasher-survival series A Texas Chainsaw Massacre (…most likely) and it’s another good commercial for Geico if I must let you know! Check it out.

Toe Tagged: Marilyn Burns

Marilyn Burns, lead scream queen actress in the original Texas Chainsaw Massacre directed by Tobe Hooper, died on August 5th at the age of 65. She was “found unresponsive” at her home in Texas by her family members.

Burns landed the lead role in Hooper’s cult classic in 1974 while a student at University of Texas. She has also appeared in another Hooper film, Eaten Alive, and had some cameo roles in Future Kill, Texas Chainsaw Massacre: The Next Generation and Texas Chainsaw Massacre 3D.

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