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EVIL, Over a Decade in the Making! “Profane Exhibit” reviewed! (Unearthed Films / Blu-ray)

Posted by Steven Lewis on

“The Profane Exhibit” is Finally Here! Come And Get It!

Forged, smelted, and baked from the fiery grounds of hell, 10 stories of bleak and utter horror crimson the soul with blood and pale it with terror.  Ten directors, ten stories, ten obscure unfathomable depictions tell of a draconian religious sister matron with a despotic rule over a child orphanage, a daughter held prisoner by her parents in her own home basement, a cult willing to sacrifice newborns for the sake of their demonic tribute, the Third Reich submitting to extreme measures to keep their ranks pure, a reenactment of a father and son’s unnatural skin-to-skin bonding, a nightclub’s underground bloodletting witchery, and more unnervingly bizarre ballads.  These tales of torment tatter the life force piece-by-piece until there’s nothing left to exhibit, nothing left of one’s humanity, nothing left of being human.  A cruel anthology awaits just beyond the play button, ready to shock, appeal, and maybe even stimulate the perverse, primal nature in us all.   

An anthology a decade in the making or, to be more specific, a decade plus one year in the making in the long awaited “The Profane Exhibit.”  The 10-short film anthology is the brainchild of Amanda Manuel that began principal production in 2013 and finally saw completion and release in 2024 after a slow slog of shoots, edits, and post-production this-and-thats to finally crossover the finish line.  Varying from micro shorts and to average length short films, the anthology employed 10 different in degree genre directors from all over the world to make the mark in what would become a manic syndrome of monsters, mayhem, and molestation.  Yes, we’re talking about some really gross things, some terrifying things, and some other abnormal, abstract, and abysmal things that could be happening right now in your nightmares, or under your nose.  Anthony DiBlasi (“Malum”), Yoshihiro Nishimura (“Tokyo Gore Police”), Uwe Boll (“Bloodrayne”), Marian Dora (“Cannibal”), Ryan Nicholson (“Gutterballs”), Ruggero Deodato (“Cannibal Holocaust”), Michael Todd Schneider (“August Underground’s Mordum”), Nacho Vigalondo (“Timecrimes”), Sergio Stivaletti (“The Wax Mask,”) and Jeremy Kasten (“Attic Expeditions”) helm shorts they’ve either written themselves or by contributing screenwriters Carol Baldacci Carli (“The Evil Inside”) and Paolo Zelati (“Twilight of the Dead,”).  Harbinger Pictures and Unearthed Films, who also premiered it’s at-home release, co-produced the anthology.

Much like the diversity of directors, the cast is also an assortment of aggregated talent that stretches the global gamut.  Popular and classic horror figures like Caroline Williams (“The Texas Chainsaw Massacre 2”) and Clint Howard (“Ice Scream Man”) play the normal couple next door conversating about politics, date night, and work while all the while they’ve locked their daughter away from the world and use her as daddy’s little sex slave in Uwe Boll’s “Basement,” depicting the normal and safe is actually abnormal and danger right in the middle of suburbia.  Others such as the underrated scream queens Monique Parent (“The Witches of Breastwick”) as a fully naked and willing “Goodwife” to her sadistic husband, Mel Heflin (“Queen Dracula Sucks Again”) donning a pig mask, naked by the way, in a rave club along with Tina Krause (“Bloodletting”), Elhi Shiina (“Audition”) and Maki Mizui (“Mutant Girl Squad”) finding happiness amongst death, and notable global genre actors Thomas Goersch (“Voyage to Agatis”) as the German father crippled by his son’s retardation, Dan Ellis (“Gutterballs”) as the hardworking husband who has everything but it all means nihilistically nothing, and Art Ettinger, the editor name and face of Ultra Violent Magazine doing his part with a bit patron part in the nightclub.  Mostly all listed have previously worked with their short film directors previously that denotes a sense of ease and expectation from their performances but that still makes their acts nonetheless shocking.  “The Profane Exhibit” also sees a few newer faces in the conglomerated cast with Christine Ahanotu, Tayler Robinson, Tara Cardinal, Mario Dominick, Witallj Kühne, Valentina Lainati, Josep Seguí Pujol, Dídac Alcaraz, and Stephanie Bertoni showing us what they can dish out disgustingly. 

Was the 11-year wait worth it?  Over the last months years, “The Profane Exhibit” received substantial hype when Unearthed Films announced its home video release, pelting social media with here it comes, get ready for it posts, tweets, and emails and for fans who’ve been following the decade long progress, director Amanda Manuel’s “The Profane Exhibit” does not disappoint as the content storyline harks back to the lump-in-your-throat, gulp-swallowing roots of general discomfort from an Unearthed Films release.  While it may not “Slaughter Vomit Dolls” level gross of upheaved bile and whatever was ingested moments before shooting, the filmmakers go deeper into the viscerally ignorant, ugly truths.  We’re not talking monsters or supernatural entities tearing Hell a new rectum, but “The Profane Exhibit” delineates the sordid nature of the human condition in an egregiously behavioral way that some of these ideas are not so farfetched.  A select few of the filmmakers incorporate surrealism into their shorts, such as with Yoshihiro Nishimura’s aberrant Mary Poppins, known as Hell Chef, replaces a spoon full of sugar with a bowl full of cooked human when turning a frown upside down of a young girl who just killed a man who she suspected tried to rape her.  The Geisha-garbed Hell Chef flies through the air holding up her Wagasa, Japanese umbrella, when her job is done.  Most others are grounded by realism with sadism being the primary culprit – “Basement,” “Goodwife,” and, to an extent, “Sins of the Father” and “Mors of Tabula.”  And then, there are shorts like the late, and great, Ruggaro Deodato’s “The Good Kid’s” that feels hackneyed and unimpressive coming up short amongst the others and makes one think if his name alone awarded the short a spot in Manuel’s lineup. 

In all, “The Profane Exhibit” delicately caters to the indelicate and is a visual instrument of visceral imagery curated for pure shock value. Unearthed Films’ Blu-ray release has finally arrived and is now in our bone-exposed and gory fingertips. The AVC encoded, 1080p high-definition, BD50 allows for dual-layer capacity for not only to squeeze in the 108-minutes’ worth of micro shorts, but allow for extended extras, deserving to fans who’ve waited years for this production to see the light of day.  Like any other anthology, a mishmash of styles but up against each other with the assemblage of different stroke directors and cinematographers but there seems to be no issues with compression, such as banding, blocking, aliasing, or any abundance of blurry noise, in the flexing widescreens aspect ratios of 2.35:1 and 1.78:1.  A good example of Unearthed Films’ codec processing is Deodato’s bridge scene; while I don’t care for the short all that much, the long shots of the bridge are nicely detailed in the nighttime, lit only be the bridge’s powered light poles, creating a downcast of warm yellow along a solid shadow-spotty bridge.  You can see and realize the stoned texture without even using your imagination on how it should look and that tell me there’s not a ton of lossy codec at work here.  An English, Spanish, Italian, and German mix of uncompress PCM 2.0 audio serves as the common output to be as collective and unified as possible.  No issues with hampered dialogue with a clear and focused track.  There dual channel quality is robust and vibrant, living up to Yoshihiro Nishimura’s surreal energy and a commanding Japanese tone while still finding voice prominence in other shorts, if dialogue exist.  Depth is fleeting without the use of a surround mix with an anthology that’s centered around the human condition rather than atmospherics, but I do believe Jeremy Kasten’s Amuse Bouche would have greatly benefited from the distinct gnashing, squirting, and smacking sound elements of a pig being processed to consumption in his wraparound.  English and Spanish subtitles are optionally available. Years of bonus content has been produced and collected for this special release which includes an audio commentary Director Michael Todd Schneider, Producer Amanda Manuel and Ultra Violent Magazine’s Art Ettinger, a world premiere interview with creator Amanda Manuel and short director Michael Todd Schneider at the Buffalo Dreams Fantastic Film Festival, a world premiere Q&A, a 15-minute mini documentary Ten Years Later with “Mors in Tabula” director Marian Dora, an extended short entitled “Awaken Manna” with introduction and discourse, PopHorror’s Tiffany Blem Zoom interviews select directors with Michael Todd Schneider, Uwe Boll, Jeremy Kasten, and showrunner Amanda Manuel, image gallery, and trailer. The 2024 release has a runtime of 110 minutes, is not rated, and is region free.

Last Rites: Worth it. That’s the bottom line for this long-awaited film imbuing with bottom-feeders. Unearthed Films returns to roots with rancidity and fans will find their bloodlust satisfied.

“The Profane Exhibit” is Finally Here! Come And Get It!

Neglect. Rape. Christmas Birth. A Perfect Storm for EVIL to be Born! “The Curse of the Werewolf” reviewed! (Scream Factory / Collector’s Edition Blu-ray)

Posted by Steven Lewis on


Set amongst the simple, yet sometimes divisively barbaric, culture of Eighteenth Century Spain, a beggar stumbles into the castle of a cruel king whose throwing a lavish wedding reception with his lords. The King’s young bride takes pity on the beggar as his force to be the occasion’s jester to obtain scraps of food and wine, but when the King retires with his new wife, he orders the beggar to be imprisoned. Forgotten to the point of insanity with his only visitor a lovely mute jailkeeper’s maid, the haggard and disheveled beggar goes mad with ravenous intentions and when the maid is punished for disobeying the now elderly, but still cruel, King, she is locked away with the beggar who rapes her. When the maid is released next morning, she kills the King and escapes into the woods to live like an animal until she’s barely found alive by a nobleman named Don Alfredo. Nursed back to health by Don Alfredo’s servant, Teresa, and discovering that the maid is pregnant, Don Alfredo and Teresa tend to the maid until the eventual birth on Christmas Day, an unholy time to give birth to a child according to superstition. The maid dies shortly after giving birth and the child, named Leon, is then raised by Don Alfredo and Teresa as their own, but carries with him a terrible curse stemmed from the maltreatment of his parents and being born on Christmas Day that transforms him into a bloodthirsty werewolf when the moon is full. When a priest advised that only love will restrain the beast from emerging, young Leon must be continuously shown affection, but when a young man, Leon leaves home to live his life, but the beast within him returns to ravage the village’s population.

Let’s travel back in time to the groovy year of 1961 when the renowned Hammer Horror direct, Terence Fisher (“Horror of Dracula”), was accelerating to the height of his career into what would be the United Kingdom’s very own colossally cult production studio, Hammer Horror, that economically constructed violent storied horror concepts splayed with a brilliant crimson blood inside an orgasmic gothic melodrama circulating around most of the classic monsters like Dracula, The Mummy, and Frankenstein, but, in this review of a new collector’s edition of Scream Factory’s Blu-ray release, Fisher wrestled with the hound from Hell, the werewolf, in “The Curse of the Werewolf” that was penned by Anthony Hinds, under the pseudonym of John Elder, as his sophomore credit behind “The Brides of Dracula.” English studio locations were transformed, not under the light of a full moon, to fabricate a mock village of Eighteenth Century Spain with the immaculate details to the sets and costumes, surely recycled from previous Hammer films, to offset the inherent English accents on a broken Spanglish vernacular. Fisher and Hinds upend common werewolf narratives, spinning a wildly tangent rendition of Guy Endore’s already highly taboo tricked out horror novel, “The Werewolf of Paris,” and drape it heavily with Gothicism.

Playing the shapeshifter werewolf is Oliver Reed who at the time was relatively unknown, playing a few bit parts such Plaid Shirt (“Wild for Kicks”) or my personal favorite, Man With Bucket on Head (“No Love for Johnnie.”) Yet, Reed exuded animalistic qualities, such as his dark features and somber eyes, that made him ideal for the role by appearances alone. The thespian in him didn’t quite fit what I believe Fisher was trying to flush out for his beast as Reed held back with a stoic reserve rather than a man desperate for salvation or death, but no one could deny that Reed wore the werewolf makeup like no other, a fine tuned testament of makeup artist Roy Ashton’s creativity that intensified an already beastly framed actor. “The Kiss of the Vampire’s” Clifford Evans took the role of being the wealthy socialite and surrogate father, Don Alfredo, who took the responsibility of raising a cursed child as his own with much suppression love as he could muster to stave the beast from returning. The legendary actor who starred in countless crime-dramas step outside his niche and into horror, even if at the time horror was considered a schlocky exercise of distaste content for a cheap thrill. As Don Alfredo, Evans wages his worth solely on the prospect of being a gentled hearted father-figure doing the right thing even if it’s detrimental to himself and the veteran actor triumphs taking an aloof man with little responsibility to his village, let alone his home, and turning him into taking the matter of his adopted son’s affliction into his own hands when he fails to cobble another solution together. “The Curse of the Werewolf” holds many other fine support performances from “Circus of Horror’s” Yvonne Romain as the mute jailkeeper’s maid, Catherine Feller, Richard Wordsworth, Warren Mitchell, Anne Blake, and John Gabriel.

“The Curse of the Werewolf” is driven not by the snarling teeth action or the transformative body horror one expects of Lycanthropy features. Instead, Hammer’s film rides a story high without being arbitrary with nonsensical waning on the centerpiece of the story, the curse, coursing the path that led to Leon’s fate that was no fault of his own. Leon’s throat-ripping moonlight rendezvous was bred from cruelty and circumstance of severe class division that reaps the life from those in the same blue collar social class as Leon, leaving the higher, wealthy class virtually unscathed by the curse’s wrath in a cruel ironic twist of events. With the story leading the charge, special effects and makeup take a backseat without only some immature fangs and shadowy lurking to sate the need for creature presence. When Roy Ashton’s vision of the half-man half-beast does make a full presentation of Oliver Reed in the full hairy beast getup, complete with a furrowed brow, elongated lower canines, and large wolf ears that were connected with bristly, greyish brown hair down the side of his lower jaw, the werewolf is worth the wait for some of the best practical werewolf makeup from the mid-20th century and surely was the inspiration for future werewolf films, such as “Wolf” with Jack Nicholson. The novelty of “The Curse of the Werewolf” still remains ripe despite being nearly half a century young, giving the beast a meaningful, if not also pitiful, existence to empathize being damned on two fronts: a wretched, cursed soul and being the target of a village mob.

Can love soothe a killer heart? Find out in Scream Factory’s collector edition Blu-ray of “The Curse of the Werewolf” with a new 4K scan from the original 35mm negative and presented in a 1080p high-definition widescreen format of a 1.85:1 aspect ratio. Rendering with clean textures and superb details, the image has remarkable vibrancy and hue balance in it’s tinctured technicolor. The transfer is virtually blemish-free, suggesting that the original negative aged well, with agreeable natural grain to complement the film stock. Scream Factory has produced the best looking version of this classic Hammer release. The English language DTS-HD single channel Master Audio renders, again, scot-free of aged distortion with the high-definition eminent boost to providing even clearer dialogue and untarnished ambient clattering during more turbulent scenes of laughter or beastly disarray. English subtitles are optional. A collector’s edition wouldn’t be complete with a slew of bonus materials and, boy, does “The Curse of the Werewolf” have brand spanking new material for the special features that include a new Roy Ashton tribute piece by his friend and “Little Shoppe of Horrors'” writer Richard Klemensen and new audio commentary with film historians Steve Haberman and Constantine Nasr. Plus, interviews with actors Catherine Feller, Yvonne Romain, Mike Hill, art director Don Mingaye, art department member Margaret Robinson, and filmmaker Jimmy Sangster in “The Making of The Curse of the Werewolf” featurette, a look at Lycanthropy that discusses whether man’s inner wolf can be a transformative source of mental will, a still gallery, and the theatrical trailer. The package is illustrated with Oliver Reed’s snarling werewolf persona by Mark Maddox, who designed Scream Factory’s “The Thing” release, and comes in a nifty cardboard slip cover. All in all, Scream Factory brought new life into the re-originating and re-orientating “The Curse of the Werewolf” that is, perhaps inarguably, the best Hammer upgrade to date.

Own “The Curse of the Werewolf” today!

Small Town Evil Under a Full Moon! “Silver Bullet” review!

Posted by Steven Lewis on


A small town is under sieged by a callous killer, ripping victims to bloody pieces and shreds without an ounce of mercy. As the town goes into a lockdown curfew, a paraplegic young boy named Marty decides to enact his own version of rebellious fun with a stroll in his gas-engine powered wheelchair for some nighttime fireworks, despite a killer on the loose and lurking in the moonlight. Marty’s fun turns into a terrifying nightmare when the killer stalks the boy and when Marty comes face to face with the killer and lives to tell the tale, he discovers that the town maniac is no ordinary deranged person but, in fact, a nasty, snarling werewolf whose also living in plain sight amongst them in the small town community. The only two to believe Marty’s harrowing tale is his older sister, Jane, and his drunk Uncle Red, whose still on the fence about Marty’s werewolf encounter. When the moon is high and full, the three devise a plan to lure out the monster to definitively put it down with a single shot from their one and only silver bullet.

A true piece of Americana horror, “Silver Bullet” remains a staple werewolf flick for those who grew up watching genre films in the 1980s. Daniel Attias, his first and only ever feature film, had embraced a larger-than-life monster movie from a script written by the legendary macabre novelist Stephen King, based off his novella “Cycle of the Werewolf.” Attias and King were practically novices when in regards to directing and screenplays; yet, “Silver Bullet” offers much in the way of comedy, drama, and the frightening scares with a practical effects wolf and snippets of gruesome, violent death at the hands of the beast. “Silver Bullet” goes beyond just being a thrilling story of good versus evil by also blurring the lines of the conventional establishment that spark up the old idiom, a wolf in sheep’s clothing, and dives into a satirical outlook of certain religious faiths and their viewpoints.

What makes “Silver Bullet” as one of the most recognizable and rememberable films, regardless of some microscopic sloppy screenwriting and first time directing woes, is the cast. Before his life altering motorcycle accident, Gary Busey (“Predator 2”) as Uncle Red brings flesh and bone, and booze, to akin King’s Uncle Al character from the novella. Busey fabricates a wonderful, heartwarming performance dynamic with Marty, whose played by the late Corey Haim (“Lost Boys”). Haim is fresh to the scene with his chubby cheeks and doughy soft eyes that would eventually make him a heartthrob idol later into his career and at the young age of thirteen, Haim’s paraplegic performance is respectable and empowering. Uncle Red and Marty are pitted against a sleeper antagonist in Revered Lester Lowe, a role who I could see no one else being in aside from Everett McGill (“People Under the Stairs”). McGill has a face for television, or the big screen in this case, as his chiseled, dark features make him a formidable foe that’s hidden behind a clerical collar. Longtime television and TV movie star Megan Follows plays big sister Jane whom factors in as Marty’s only ally despite their dysfunctional relationship which Follows portrays well with verbal jabs of adolescent wickedness toward her disabled little brother. Rounding out the cast is Terry O’Quinn (“The Stepfather”), Bill Smitrovich (“Manhunter”), and “Reservior Dogs” Lawrence Tierney.

Television cooking show host, Giada De Laurentiis’ grandfather, Dino De Laurentiis, produced the film who was no stranger to the horror genre, such as “Orca” and “Amityville II,” nor to films adapted from Stephen King’s work like the “Dead Zone.” Under Luarentiis’ wing, “Silver Bullet” delivered brutal, traumatizing werewolf kills spun from the werewolf suit creating hands of another Italian, Carlo Rambaldi (“The Hand That Feeds the Dead”), and together, the two Italian filmmakers, along with an apt cast and crew, saw their installment flourish amongst an overcrowded werewolf subgenre in the early 1980’s with competition from films such as John Landis’ “An American Werewolf in London,” “The Howling,” and, yes, even “Teen Wolf.” “Silver Bullet” didn’t just arrive on the scene without some challenges to the storyline. For instance, a killing spree has already established with more than five townsfolk dead and a strict curefew has been set in place, but Marty, ignoring his Uncle Red’s solicited advice about staying near the house to set off fireworks, sneaks out in the middle of the night to shoot off fireworks away from the house. Marty’s fairly bright through the entire story and a nice kid, but the initial encounter between him and the werewolf is by far one of the most unintelligent and dim-witted action any character to make in the history of horror films. What makes the scenario even worse is that Marty is handicapped.

Umbrella Entertainment presents Daniel Attias’ “Silver Bullet” on region B Blu-ray home video in a widescreen 2.35.1 aspect ratio. Image quality of the full high-definition 1080p picture has an agreeable color palette, sharpness, and pinpoint details that especially come to light during the memorable church of wolves scene. A very few scenes have transfer instability where, in a blink of an eye, a revert to a faded frame comes into the fold. The English 2.0 DTE-HD master audio poises and harmonizes the elements and the dialogue into a vat of consistency that isn’t flawed by track damage. Jay Chattaway rallying, chilling score is a candor testament to the quality of the soundtrack that follows suit right behind the beyond par quality of the dialogue and ambient levels. Special features include audio commentary with director Daniel Attias, interviews with special effects artists Michael McCracken, Jr (“Deep Blue Sea”) & Matthew Mingle (“A Nightmare on Elm Street 3: Dream Warriors”), an interview with actor Everett McGill, an Umbrella exclusive interview with producer Martha De Laurentii’s remembering “Silver Bullet,” isolated score selections and audio interviews with composer James Chattaway, theatrical trailer, TV Spots, radio spot, and still gallery. A complete and definitive set from Umbrella Entertainment! “Silver Bullet” is a howling success story of classic American horror that has timeless practical effects, a riveting narrative, and cast enriched characters that invest into the lycanthropy film paralleling David versus Goliath.

Re-Edited Lycanthrope Evil! President Wolfman review!

Posted by Steven Lewis on

pwolfman

The world should recycle more. Every single plastic bottle, every single piece of cardboard, every single scrap paper, and every piece of jagged edge metal should be recycled and reincarnated for another purpose. The world would be cleaner and less money would be spent on brand new material when perfectly good, slightly used material already exists. This little rant brings me to a film that hits DVD shelves today! “President Wolfman” – a fairly catchy title and my second in a row werewolf review (see Werewolf Rising) – uses and re-edited public domain footage to give birth to an entirely new movie about President John Wolfman, who in the midst of trying to veto a bill that would involve China buying out America and make the land of the free one of China’s colonies, becomes bit by a mystical Native American wolf that transforms him into werewolf. Not just any werewolf, but the Commander-n-Chielf werewolf that will do anything to stop this bill no matter who he has to slaughter.
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One hundred and twelve pieces of stock footage and public domain film was re-edited to create this masterpiece. Most familiar piece of film is “The Werewolf of Washington” from 1973 starring “Quantum Leap” star (no, not Scott Bakula) Dean Stockwell. Stockwell is an actually a White House press reporter, but in Preside Wolfman portrays the President of the United States with the voiceover provided by Marc Evan Jackson. John Wolfman is also portrayed from other various public domain films, none of which I’ve ever seen before nor do I probably care to. If The Werewolf of Washington wasn’t already campy in 1973, then surely, most definitely, absolutely camp-a-licious in this re-edited masterpiece.
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The script written by director Mike Davis (“Sex Galaxy”) can be quite witty and colorful making scenes have life, but there are times when the voiceover is overdone and burnt to a dull, tasteless crisp. However, that is the whole point of this film isn’t it? To turn a mediocre film into something more ridiculous? If so, then Mike Davis went beyond that goal without a shadow of a doubt.
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“President Wolfman” can lose focus at times with non-cohesive splice in scenes that only work to the film’s charm. Even though this film was released in 2012 and won various festival awards from Atlanta Horror, New Orleans Horror, and Alien to Zombies Los Angeles film festivals respectively, “President Wolfman” is finally, about damn time, getting a DVD release from WildEye releasing, a great, great company who know what rare and campy are all about. The DVD, which drops in stores today, also includes commentary, funny short films, out takes, trailers, highlight reel, and a great music video! Lets also not forget that a certain scene of public domain film includes stock footage of a woman giving birth in a backseat of a car! Placenta and all!
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Evil Mail Cal! Check out what is on the chop block for It’s Bloggin’ Evil!

Posted by Steven Lewis on

MAIL CALL!

The mail man finally brought me my packages.  As I tracked the package, I saw that the package shipped from Pittsburgh, went to Ohio for processing, traveled to Southeastern PA, then to Downingtown, PA which is two minutes from where I reside.  However, when I thought the package would arrive the next day, my blood started to boil when I found that it was just processed in Jersey City, NJ.  Gah!  Five days later (after a weekend), my package finally arrived and I was relieved and now I can share with you what might the content be for future articles.

For the first time on It’s Bloggin’ Evil, I made a video post about what was received.  This gives you a clear idea on the content that one might come across.  Now not every film in this video will be reviewed here because their genres just aren’t evil enough, but I still think it’s interested to see what people can hunt down in flea markets, yard sales, Movie Stop’s used section, Walmart’s $5 dollar bin and so on.  Also, don’t expect just movies on future video posts!

Hopefully you enjoy the video.  I can be a dry talker at times, but I’m a bit camera shy and can get nervous.  There is some bloopers and humorous remarks in this little over 8 minute video.  Thanks again for watching and make sure you return from the grave and check out the evil to come.