Review: iMurders (2008)

iMurders (2008)
Director: Robbie Bryan / Scroll Down Films

While browsing the horror and thriller DVD sections of my favorite local movie retailer, I noticed the film iMurders. I remembered reading about it when I prepared my recent interview with Executive Producer and Actor Brooke Lewis. Prior to viewing iMurders, all the markers suggested to me that this is a film that I wanted in my collection. From the ensemble cast, including one of the all-time horror greats, Tony Todd (Candy Man), to the title, tagline, and promotional packaging, I knew I needed to buy it and watch it as soon as possible. 

Before watching iMurders, I had certain expectations that it would be a straightforward thriller. I was pleasantly surprised to find that it is much more than that. iMurders is a clever genre hybrid of slasher horror, psychological thriller, detective drama, and murder mystery throwback to the days of Agatha Christie. There is a nice balance of violence, gore, and suspense to keep most horror fans on the edge of their seats. 

The story follows a group of chat room participants that have built long distance friendships through a social media website cleverly named "FaceSpace." Each member of the group is being picked-off one by one in true slasher fashion, as FBI Agents Washington, played by Tony Todd, and Lori Romano, played by Brooke Lewis, attempt to solve the case. As viewers, we are only given small pieces of the puzzle in order to draw our own conclusion as to who is committing these murders. I can't say that I was surprised by the ending; however, there was enough misdirection to keep several possibilities open. 

Our female lead is Sandra Wilson, played by Terri Conn (Colombino). After a brief scene of adultery and ambiguous gunfire, we cut to Sandra, a thirty-something beautiful blonde, arriving at her newly rented apartment in Jersey. We are quickly introduced to Sandra's new technologically challenged and nosy landlord Christine Jensen, played convincingly by Joanne Baron. These two quickly develop a friendship. Sandra's character is further developed through a budding romance with the ex-cop hunk down the hall, Joe Romano, played by Frank Grillo. Grillo is excellent as the love interest and is given some depth through a back-story involving the murder of his brother. 

Robbie Bryan does an excellent job of presenting snippets of the rest of the chat room participants' lives in order to give viewers a reason to care or in some cases not care about those being murdered. This also allows us to see what an all-star ensemble cast this really is. William Forsythe is fantastic as the dirty-old-man Professor Uberoth. He cheats on his wife with co-workers and is a little too friendly with his female students. Not a likable guy, but certainly an interesting character. Wilson Jermaine Heredia, who plays my favorite character in the film, Mark Sanders, the flamboyant FX artist that conducts a monthly FaceSpace chat room contest for the group members. The rest of the characters are just as rich and enjoyable to watch.

Without giving too much away, there are elements of iMurders that are reminiscent of Se7en (1995). In fact, there is a scene where agents Washington and Romano unknowingly pass the killer on their way up a stairway. Not sure if this was intentionally done by Bryan or not. In addition to this scene, the ways in which the murders are done and the reasons for which they were committed remind me of Se7en as well.

"No one is safe in cyberspace!" a tagline that is sure to grab the attention of social media junkies like me. There is certainly a false sense of security and anonymity when one surfs the web. One believes that they can become trusted friends with faceless humans on the other end of a binary coded network of circuitry, but do you ever really know for sure who you are sharing information with? Ultimately, I believe this film proves that the dangers in cyberspace are essentially the same dangers one faces in "real" life.

I highly recommend this film for anyone that enjoys a solid "whodunit." 

Brief DVD review:
I am thrilled that I purchased this DVD rather than having streamed or rented it. The extras include an alternate ending, which I liked very much, and a lengthy behind-the-scenes Q&A with several of the stars including Writer/Director Robbie Bryan, William Forsythe, Brooke Lewis, Tony Todd, Frank Grillo, Billy Dee Williams, the late, great Charles Durning, Miranda Kwok, Margaret Colin, Joanne Baron, and Gabrielle Anwar among others.

Buy it.

Review - Henry: Portrait of a Serial Killer (1986)

Henry: Portrait of a Serial Killer (1986)

Released September 1990
Director: John McNaughton

We live in a society where culturally our entertainment has a lot of violence in it; (this coming from a horror film reviewer...) but often times the violence in film and television is toned down to a quick punch in the face or it is completely absurd and the blood pours down the screen. We watch horror films to feel a sense of danger, shock, or just to get our adrenaline pumping, but rarely has there ever been a film filled with such hopelessness as Henry: Portrait of a Serial Killer.

Whenever someone tells me that they are desensitized to violence, I tell them to watch Henry, because even the most desensitized film goer will shut up and respect the sheer realism that Henry provides. Simply put: Henry: Portrait of a Serial Killer is a brilliant film, but it is NOT a fun film. Nothing is sugar-coated, cartoonish or absurd. The character of Henry shares many biographical concurrences with real-life serial killer Henry Lee Lucas. Director John McNaughton makes clear in the beginning of his film that it is based more on Lucas' violent fantasies and confessions, rather than the crimes for which he was convicted; however, this fantastical portrait of Lucas’ life takes nothing away from this truly bleak film.

We are immediately introduced to Henry as a killer and follow him throughout his daily routine. No mention is given to any police inquiries and Henry is oblivious to any notion of avoiding capture or covering his tracks. Much of the film's power comes from this nonchalant approach, whereby, if a person doesn't register that something he is doing is wrong, then it quickly becomes almost acceptable. We then meet Henry’s roommate Otis (who later joins Henry on his murderous rampage) and Otis’ sister Becky, who’s coming from out of town for a visit. We watch as the movie slowly suffocates the viewer with countless murders, interwoven with a story of three tortured individuals trying to find some way of coping with one another. The film ends with no justice and no peace. Henry continues to drive around town and kill with no signs that he will eventually be captured.

Rooker, in the title role, is totally convincing and gives a performance free from the mannerism clichés which detract from more famous serial killer characters like Hannibal Lector (the film actually made me stop watching Dexter, simply because it changed the way I view serial killers) Almost equally disturbing is Tom Towles performance as the half-witted roommate Otis, who is used as some form of comic relief until you realize just how many people you’ve met in your life that share some of Otis’ tendencies.

Everything about Henry: Portrait of A Serial Killer feels genuine. Its low budget makes it feel homemade (shot on 16mm and only had a $110,000 budget) and the relationship between the characters is so downplayed by (then) unknown actors that everything feels real, which of course makes it scarier. Some films will scare you with monsters or graphically showing a kill, but I don’t think the murders are what makes Henry such a horrifying film. I think it’s simply the atmosphere painted across its entire landscape that brings viewers to the brink of terror.

SPOILERS:
Scariest Scene: Henry gets a bottle to the face from Otis and right as he’s about to kill Henry, Becky stabs Otis in the eye. In any other horror film, this may have just been another stabbing, but the sheer tension this film provides makes this scene truly unforgettable. (With help from the soundtrack, which is arguably the best in any horror film)

- Andrew Megow

An Analysis of "The Hunt" (2020)

An Analysis of "The Hunt" (2020)

 "The Hunt," released in 2020, is a satirical horror film directed by Craig Zobel. The movie gained attention for its controversial subject matter and was briefly delayed due to concerns about its political content. The film revolves around a group of strangers who wake up in a remote location, only to realize that they are being hunted by a group of wealthy elites for sport.

The story begins with a group of strangers who wake up in a clearing, confused and disoriented. As they try to make sense of their situation, it becomes clear that they are being hunted by a group of wealthy individuals known as the "elites." The elites, representing different political ideologies, view the hunt as a form of entertainment. The protagonist, Crystal (played by Betty Gilpin), emerges as a strong and resourceful character, turning the tables on her pursuers.

"The Hunt" is a satire that takes a jab at both sides of the political spectrum, mocking extreme viewpoints and divisive ideologies. The film uses exaggerated characters and situations to highlight the absurdity of political polarization, portraying the elites as out-of-touch and the hunted as unwitting pawns caught in a larger game. The satirical elements are woven into the narrative, providing moments of dark humor that force the audience to reflect on the state of contemporary political discourse.

One of the central themes of "The Hunt" is the dehumanizing effect of extreme political ideologies. The film explores how people's convictions can blind them to the humanity of those with differing opinions, ultimately leading to violence and dehumanization. The characters' reactions to the hunt highlight the dangers of viewing others solely through the lens of political affiliation.

Crystal, portrayed by Betty Gilpin, is a standout character whose resilience and resourcefulness challenge the expectations set by the elites. Her character serves as a commentary on the unpredictability of individuals and the limitations of stereotyping based on political beliefs. The supporting characters, though often portrayed in exaggerated terms, contribute to the film's satirical tone.

"The Hunt" faced controversy prior to its release due to concerns about its political content. Some critics argued that the film could further polarize audiences, while others praised its satirical take on contemporary politics. Despite the initial backlash, the film received a mix of reviews. Some appreciated its bold approach and social commentary, while others found fault in its execution and tone.

In conclusion, "The Hunt" is a satirical horror film that uses extreme scenarios and characters to criticize the divisive nature of contemporary political discourse. Through its dark humor and intense action, the movie encourages viewers to reflect on the dangers of dehumanizing those with opposing beliefs. While the film faced controversy, it stands as an attempt to address and satirize the polarized state of modern politics.

Unleashing the Beast: A Look Back at the 2000 Cult Classic, "Ginger Snaps"

Unleashing the Beast: A Look Back at the 2000 Cult Classic, "Ginger Snaps"

In the realm of horror cinema, the year 2000 gave birth to a lycanthropic gem that forever changed the way we perceive the coming-of-age genre. "Ginger Snaps," directed by John Fawcett and written by Karen Walton, is a darkly comedic werewolf film that weaves together themes of adolescence, sisterhood, and the supernatural in a unique and unforgettable way.

Set in the suburban town of Bailey Downs, "Ginger Snaps" revolves around the Fitzgerald sisters, Ginger (Katharine Isabelle) and Brigitte (Emily Perkins). The film opens with the girls staging and photographing their own deaths, showcasing their morbid fascination with death. However, their lives take a drastic turn when Ginger is attacked by a mysterious creature on the night of her first menstruation.

As Ginger's body undergoes a strange transformation, the sisters find themselves entangled in a web of horror and the supernatural. Brigitte races against time to find a cure for her sister's affliction while dealing with the challenges of adolescence and the looming threat of the full moon.

At its core, "Ginger Snaps" explores the challenges of adolescence and the strain it puts on the relationship between the two sisters. The film cleverly uses the werewolf curse as a metaphor for the physical and emotional changes that accompany puberty. Ginger's transformation into a werewolf serves as a chilling allegory for the uncontrollable and often terrifying aspects of growing up.

The bond between Ginger and Brigitte is a central focus, showcasing a unique blend of dark humor and genuine emotion. As Ginger's condition worsens, Brigitte must confront the harsh reality that her sister is no longer the person she once knew. The film masterfully combines horror elements with a heartfelt exploration of sisterhood, making it stand out in the crowded horror genre.

"Ginger Snaps" is not your typical werewolf film. Instead of relying on traditional horror tropes, the movie employs a mix of practical effects and dark humor to create a uniquely eerie atmosphere. The werewolf transformation scenes are a highlight, with the practical effects team delivering a visceral and memorable portrayal of the horrifying metamorphosis.

The film's horror elements are intensified by its gritty and realistic visual style. The suburban setting adds a layer of relatability, making the supernatural events unfolding on screen all the more unsettling. The juxtaposition of the mundane and the supernatural enhances the overall impact of the horror elements.

While "Ginger Snaps" didn't achieve mainstream success upon its initial release, it has since garnered a dedicated cult following. The film's subversion of genre expectations, strong performances, and clever exploration of themes make it a standout entry in the werewolf subgenre and a beloved cult classic.

"Ginger Snaps" remains a testament to the power of storytelling in the horror genre. By blending elements of dark comedy, adolescent drama, and supernatural horror, the film carved out a niche for itself, earning a place in the hearts of horror enthusiasts. As the moon waxes and wanes, the legacy of "Ginger Snaps" continues to endure, reminding audiences that some coming-of-age stories are best told under the glow of a full moon.

Unraveling the Mysteries of "From Hell" (2001): A Cinematic Journey into the Shadows of Jack the Ripper

Unraveling the Mysteries of "From Hell" (2001): A Cinematic Journey into the Shadows of Jack the Ripper

In the realm of cinematic explorations into historical mysteries, the 2001 film "From Hell" stands out as a dark and gripping journey into the notorious case of Jack the Ripper. Directed by the Hughes Brothers (Albert and Allen), the movie is loosely based on the graphic novel of the same name by Alan Moore and Eddie Campbell. Starring Johnny Depp and Heather Graham, "From Hell" delves deep into the foggy alleyways of Victorian London, unraveling the enigma surrounding the infamous Whitechapel murders.

The narrative unfolds against the backdrop of the squalid and ominous streets of Whitechapel, where a series of gruesome murders terrify the community. Inspector Frederick Abberline, portrayed with intensity and nuance by Johnny Depp, is tasked with solving the baffling case. His investigative journey takes him through a labyrinth of conspiracy, corruption, and mysticism.

The film introduces a compelling mix of historical facts and speculative fiction as it weaves a tale of a clandestine society, royal intrigue, and a mysterious prophecy. Abberline, utilizing his deductive skills and a heightened sense of intuition induced by opium, attempts to decipher the cryptic clues left by the elusive killer.

"From Hell" is visually striking, capturing the grim and gritty atmosphere of Victorian London with precision. The cinematography, led by Peter Deming, immerses the audience in the dimly lit streets, shadowy corners, and fog-covered landscapes, creating a haunting and immersive experience. The film's meticulous attention to period details and its use of atmospheric lighting contribute to the overall sense of foreboding.

At the heart of the film is Johnny Depp's captivating portrayal of Inspector Abberline. Depp brings a brooding intensity to the character, infusing him with a mix of vulnerability and determination. The actor's ability to convey Abberline's internal struggles, both personal and professional, adds depth to the narrative. Depp's performance elevates "From Hell" beyond a mere crime thriller, turning it into a character-driven exploration of a tormented soul in pursuit of justice.

Beyond its thriller elements, "From Hell" touches on societal issues prevalent in Victorian England. The film sheds light on the stark class divide, the exploitation of the impoverished, and the struggles faced by women in a patriarchal society. Heather Graham's character, Mary Kelly, becomes a focal point for addressing these issues, offering a glimpse into the harsh realities of life in Whitechapel.

"From Hell" is a compelling and atmospheric exploration of one of history's most enduring mysteries. While the film takes liberties with historical facts and introduces elements of speculative fiction, it successfully creates a dark and immersive world that captivates audiences. Johnny Depp's standout performance, coupled with the film's visual prowess and thematic depth, makes "From Hell" a memorable cinematic journey into the shadows of Jack the Ripper's reign of terror.

Review: Videodrome (1983)

Videodrome (1983)
Director: David Cronenberg

“Long live the new flesh.” James Woods (Vampires) plays a sleazy television executive – as if there’s any other kind – looking for the next big thing when he stumbles upon a pirated broadcast, the eponymous Videodrome. Featuring torture and murder, Videodrome instantly begins to fascinate him and his new masochistic girlfriend, played by Deborah Harry of Blondie (Super 8). As Woods begins to investigate the source of the signal, he stumbles onto a man who lives only on video tape, a church that treats the homeless with endless hours of television, and the fact that Videodrome produces a brain tumor that causes violent hallucinations.

Finding that the signal originates in Pittsburgh (is that really such a surprise?) Woods begins to investigate the reality of these broadcasts and disappearance of Harry. Eventually, he becomes a pawn in an ongoing war for control of the future, with much delightfully disgusting Cronenberg body-horror along the way. Highlights include a vagina in Woods’ stomach, a literal hand grenade, and death by cancer-causing flesh bullet (I think it was Freud who said a flesh bullet is never just a flesh bullet). Warning: personal enjoyment of this kind of thing may vary.

It’s not hard to see the way Cronenberg predicted our modern media landscape, from reality television to YouTube. What else is the “new flesh” but our modern lives lived anonymously over the computer? As people give more and more of their lives over to technology, so much so, that even in the poorest towns in third world countries you can find people with cell phones, it’s reasonable to wonder what this all means for the future and to feel a certain fear for our humanity. It’s this part of the movie that feels the most relevant and engaging. Not to mention the always enjoyable Woods and those special effects provided by master Rick Baker (The Howling) mentioned before.

However, there’s always something about stories emphasizing the dangers of technology that comes across as a little silly and retrograde. Were there plays about the dangers of radio when it was first introduced? Did people tap out stories where telegraphs merge with humans, one dot and dash at a time? Anytime new technology is invented, someone is going to write a story showing the dark side of said technology, and it will always wind up looking a little dated and goofy (I’m looking at you, The Net.) It’s kinda hard here not to laugh when several scenes involve evil, pulsating Betamax tapes.

The story also gets a little too bogged down in its philosophies. There doesn’t need to be clear delineations of good and evil but the differences between various factions in this movie is hard to parse. One wants to use the Videodrome signal as a weapon (I think), the other wants to welcome members into a new reality of life-everlasting on video (or something like that). No movie needs to spoon feed morals and lessons, or even clarity, but it’s hard to see a point other than “too much television is bad.” Sex and violence aren’t the future of entertainment, they’re as old as humanity itself.

Still, the power and seduction of Videodrome is undeniable. All you have to do is walk down the street and watch people unable to put down their smartphones to wonder if the future predicted in this movie is already here. Cronenberg has style and talent to spare and it’s easy to get sucked in, kinda like Woods pushing his face into an undulating television screen. If a brain tumor is the result, then long live the new flesh.

- David Kempski

An analysis of "Hollow Man" (2000)

 

"Hollow Man," released in 2000 and directed by Paul Verhoeven, is a science fiction thriller that explores the consequences of unchecked scientific experimentation and the ethical dilemmas surrounding invisibility. The film stars Kevin Bacon as Dr. Sebastian Caine, a brilliant scientist leading a top-secret government project to achieve invisibility.

Plot Summary: The narrative follows Dr. Caine and his team as they successfully develop a serum that renders living organisms invisible. Initially driven by the potential benefits for military applications, the project takes a dark turn when Caine, consumed by his own ambition and desire for power, decides to test the serum on himself. As the invisible man, he becomes increasingly unstable and dangerous, leading to a series of horrific events within the confines of the research facility.

Themes:

1. Ethical Dilemmas: "Hollow Man" delves into the ethical implications of scientific advancements, particularly the question of how newfound abilities can corrupt individuals. The film raises concerns about the responsible use of power and the consequences of playing with the boundaries of human knowledge.

2. Isolation and Alienation: Invisibility becomes a metaphor for isolation and alienation. As Caine becomes invisible, he loses his connection to humanity, both physically and emotionally. The film explores the psychological toll of being cut off from society and the impact on one's moral compass.

3. Hubris and Power: Dr. Caine's descent into madness serves as a cautionary tale about the dangers of unchecked ambition and the pursuit of power. The film suggests that the desire for dominance and control can lead to destructive consequences.

Characterization: Kevin Bacon delivers a compelling performance as Dr. Sebastian Caine, effectively portraying the character's descent into madness. Elisabeth Shue plays Linda McKay, Caine's ex-girlfriend and fellow scientist, adding depth to the story as she becomes entangled in the ethical and moral quagmire created by Caine's actions.

Visual Effects: "Hollow Man" was notable for its advanced visual effects at the time, showcasing the challenges and drawbacks of invisibility in a visually engaging manner. The film effectively utilizes special effects to depict the invisible Caine and the disturbing transformation he undergoes.

Critique: While "Hollow Man" received praise for its visual effects and Bacon's performance, some critics noted a lack of depth in the supporting characters and found the film's violence and gore excessive. The focus on suspense and horror elements overshadowed the potential for a more profound exploration of the ethical themes introduced in the narrative.

Conclusion: "Hollow Man" is a thought-provoking science fiction thriller that explores the ethical and moral consequences of scientific experimentation. Through its engaging narrative, strong performances, and cutting-edge visual effects, the film offers a cautionary tale about the dangers of unchecked ambition and the potential dark side of human nature when granted extraordinary powers. Despite some criticisms, "Hollow Man" remains a notable entry in the sci-fi genre, contributing to discussions about the ethical responsibilities of scientific advancements.

Needful Things (1993): A Devilish Delight of Desires and Destruction

Needful Things (1993): A Devilish Delight of Desires and Destruction

Released in 1993, "Needful Things" is a film adaptation of Stephen King's novel of the same name. Directed by Fraser C. Heston, the movie takes audiences on a dark and twisted journey into the quaint town of Castle Rock, where a mysterious shop called Needful Things opens its doors, promising to fulfill the deepest desires of its customers. As the film unfolds, it explores themes of temptation, greed, and the consequences of succumbing to one's darkest desires.

The story revolves around Leland Gaunt (played by Max von Sydow), the enigmatic and malevolent proprietor of Needful Things. Gaunt sets up shop in Castle Rock, offering a wide array of peculiar and seemingly magical items that cater to the personal desires of the townspeople. However, the catch is that these items come with a hefty price, not just in monetary terms but in the form of dark and destructive deeds that the customers must carry out.

The unsuspecting residents of Castle Rock fall prey to Gaunt's manipulative schemes, resulting in a series of escalating conflicts and tragedies. The town becomes a battleground of chaos and destruction as neighbors turn against each other, driven by their insatiable desires and the sinister influence of the mysterious shopkeeper.

The film boasts a stellar ensemble cast, including Ed Harris as Sheriff Alan Pangborn and Bonnie Bedelia as Polly Chalmers. Each character is uniquely crafted, and their personal struggles and vulnerabilities are brought to the forefront as they grapple with the temptations presented by Needful Things.

Sheriff Pangborn, in particular, emerges as a central figure trying to maintain order in the face of escalating chaos. His determination to uncover the truth behind the town's descent into madness provides a compelling anchor for the narrative. The dynamic performances of the cast contribute significantly to the film's eerie atmosphere and emotional depth.

"Needful Things" explores timeless themes of human nature, morality, and the consequences of unchecked desires. The film serves as a cautionary tale, highlighting the destructive power of greed and the ease with which individuals can be manipulated when their deepest longings are exploited.

As with many Stephen King adaptations, "Needful Things" successfully captures the author's ability to blend horror, psychological tension, and complex character dynamics. The film stays true to King's exploration of the darker aspects of human nature, making it a compelling addition to the cinematic adaptations of his work.

"Needful Things" stands out as a chilling and thought-provoking exploration of the human psyche, wrapped in the trappings of supernatural horror. The film's atmospheric tension, coupled with strong performances and a gripping narrative, ensures that it remains a memorable entry in the Stephen King film canon. For those intrigued by tales of temptation, moral dilemmas, and the thin line between desire and destruction, "Needful Things" remains a devilishly delightful cinematic experience.

Exploring the Horrifying Elegance of "Candyman" (1992)

Exploring the Horrifying Elegance of "Candyman" (1992)

In the realm of horror cinema, certain films stand out as timeless classics that have left an indelible mark on the genre. One such iconic movie is "Candyman," released in 1992 and directed by Bernard Rose. Adapted from Clive Barker's short story "The Forbidden," this film not only terrified audiences with its chilling narrative but also offered a thought-provoking exploration of urban legends, race, and the supernatural.

Set against the gritty backdrop of Chicago's Cabrini-Green housing projects, "Candyman" follows the story of Helen Lyle, a graduate student researching urban legends. Helen becomes intrigued by the myth of Candyman, a malevolent spirit with a hook for a hand, who is said to be summoned by saying his name five times in front of a mirror. As Helen delves deeper into the legend, she discovers a complex and horrifying connection between the supernatural entity and the real-world social issues plaguing the Cabrini-Green community.

One of the strengths of "Candyman" lies in its exploration of urban legends and the power they hold over communities. The film takes the classic Bloody Mary trope and transforms it into a nightmarish tale that blurs the lines between myth and reality. The Candyman, portrayed by Tony Todd, becomes a symbol of fear and injustice, haunting the impoverished Cabrini-Green neighborhood.

The setting of Cabrini-Green provides a poignant backdrop for the film's social commentary. The stark contrast between the decaying high-rises and the privileged world of academia highlights the economic disparities that persist in society. "Candyman" deftly weaves issues of race and class into its narrative, shedding light on the systemic injustices faced by marginalized communities.

Tony Todd's portrayal of the Candyman is nothing short of legendary. With his deep voice and imposing presence, Todd brings a mesmerizing and terrifying quality to the character. The Candyman is not just a typical slasher villain; he is a tragic figure, a victim of historical injustice seeking vengeance. Todd's performance elevates the film beyond mere scares, adding a layer of complexity to the supernatural antagonist.

Director Bernard Rose deserves credit for creating a visually stunning and atmospheric film. Rose masterfully blends psychological horror with a haunting score, creating an unsettling ambiance that lingers long after the credits roll. The use of mirrors as a recurring motif adds a symbolic layer to the narrative, reflecting the characters' fears and the dark history of Cabrini-Green.

"Candyman" has left an enduring legacy in the horror genre, influencing subsequent filmmakers and earning a dedicated fan base. Its impact is evident in the recent 2021 sequel, which continues the story while paying homage to the original. The film's ability to blend supernatural horror with social commentary ensures its place in the pantheon of horror classics.

"Candyman" (1992) stands as a testament to the power of horror to transcend mere scares and delve into the complexities of society. Its exploration of urban legends, socioeconomic issues, and a haunting performance by Tony Todd have solidified its status as a timeless classic. As we continue to revisit the horrors of Cabrini-Green, "Candyman" remains a chilling and thought-provoking journey into the dark corners of urban folklore.

Review: Zombie Lake (1981)

Zombie Lake (1981)
Director: J.A. Laser / Eurociné

Description from Netflix:
During World War II, a group of villagers ambushed and defeated a band of German soldiers and threw their bodies in the nearby lake.  Now, the Nazis have returned as angry zombies, preying on unsuspecting teen swimmers and skinny-dippers.

My thoughts:
The above description should tell you just about all you need to know.  Especially the part about skinny-dippers.  Oh man...for a lake as filthy as this one, it's amazing how many skinny-dippers there are.  Young women find their way to the lake and immediately think, "I need to take off all my clothes and get in there as soon as possible."  And they do.

While all this gratuitous nudity was going on (I'll estimate that 30% of this movie was naked ladies), there was a backstory about one of the Nazis and his daughter.  While he was stationed in this town, he knocked up a resident.  He was then killed, because he was a Nazi, and that's what you do to Nazis.  So, on top of killing nude co-eds, he also wanted to reunite with his daughter.  Because even though he was a zombie, he still held his memories he had while living (like Colin or Bub).

Needless to say, it was a terrible story.  They writers decided it really wasn't worth their time to flesh out any of the characters or their motivations or anything.  Am I asking too much of a softcore-zombie-porn?  Probably.

There were a lot of laughable parts of this movie (on top of the obvious nudity, which I feel has been covered pretty well).  The make-up was atrocious.  Like, visibly-rubbing-off-during-scenes bad.

Most of the zombies walked around like regular people, if a little slower.  But this joker thought he was Karloff or something.  Seriously.  No other zombie moved like this.

To say this was a terrible movie would be about the best review I could give it.  At times, it was borderline unwatchable.  Honestly, I felt a little uncomfortable watching it at times (that had less to do with the nudity and more to do with the fact that it felt like it was made by a Nazi sympathizer).  The handful of laughs didn't make up for the rest of it.

If you're looking for a good Nazi zombie movie (and who isn't?), I highly recommend you go with Dead Snow.

Zombies: they seemed to be pretty standard zombies.  No super-strength or anything like that.  Regular gunshots didn't seem to stop them (although I can't vouch for headshots, because I'm not sure any of them were actually shot in the head).  However, the thing that separated these zombies from your Romero zombies was the fact that fire killed them.  Anyone who knows zombies knows you should never set one on fire: it won't kill them, and now you have a flaming zombie to contend with.  But it seemed to work for these guys.

- Dusty 'D' Evely