In addition to the usual reviews and comments you would find on a horror movie blog, this is also a document of the wonderfully vast horror movie section of the video store I worked at in my youth.

Thursday, January 31, 2013

Make Your Choice.

Last week, I ventured out into the cold to take in Rue Morgue’s first Cinemacabre of 2013. They were screening a movie called Would You Rather, which I had only just heard about a few weeks before.

In need of money to care for her sick brother, Iris (Britanny Snow) attends a dinner party thrown by wealthy philanthropist Shepard Lambrick (Jeffrey Combs). Unfortunately for her and the seven other guests, Lambrick has cooked up an evening they won’t soon forget – or perhaps even survive.

Would You Rather is not a bad little film. Taken from conception to release in less than two years, director David Guy Levy keeps things simple. Shot largely in one location, this dialogue driven piece of flamboyant nastiness is a good example of doing a lot with a little. It has a speedy setup, gets right into the meat quickly and is one of those movies that gets better as it goes along. This could’ve easily been a trite exercise in torture porn, but succeeds by not being excessive nor overly convoluted, things for which that subgenre have always been guilty.

Would You Rather features a ton of familiar faces, including Robb Wells, John Heard and Sasha Grey, but the movie shines, perhaps unsurprisingly, due to genre veteran Jeffrey Combs. He is fantastic in this, truly relishing the role as sadistic aristocrat Lambrick. I can’t recall him being this good since The Frighteners nearly twenty years ago. I also have to give Levy – as well as writer Steffen Schlachtenhaufen – props on the ending, as well. Following all the diabolical events that transpired, coming up with a fitting ending could’ve been tricky, but I felt there was something darkly poetic about its conclusion.

Jeffrey Combs as Mr. Lambrick in Would You Rather.

During the Q&A via Skype with Levy after the screening, someone brought up if the film was a comment on the – to use the now tired phrase – “one percenters” and their perceived sense of entitlement. Levy replied that he could see that, but his real intent was to combine his fascinations with the secret societies glimpsed in films like Eyes Wide Shut, and infamous human behaviour studies, such as the Stanford prison and Milgram experiments.

I took a gamble on this one, and came out pleasantly surprised. Armed with a juicy idea and the considerable talents of Jeffrey Combs, Levy just let human behaviour take its course.

Tuesday, January 29, 2013

Trailer Tuesdays: The Thing (1982)

I decided to go with a classic today, John Carpenter's The Thing.

Trailer courtesy of Buzzati.

Back in the eighties, VHS previews would sometimes follow the movie, and I still remember that trailer coming on after the credits rolled on whatever horror flick my father happened to rent that weekend. I recall it being a lot shorter, but the image of those letters crawling across the screen and that sound Bennings makes just before he gets torched stayed with me. This would've been circa '83, so my only knowledge of the movie then, was the iconic poster I saw at the Drive-In the summer before. I believe it was a few more years before I finally saw it, and boy, what an experience. The Thing still remains one of the few effects-heavy films that still holds up today. It also helps that it is fucking perfect in every way possible. But, you already know that, don't you?

Monday, January 28, 2013

Little Terrors 15

Last week, I attended the latest incarnation of Unstable Ground's monthly short film showcase, Little Terrors.

As always, it was a strong programme. Apart from the usual contigent of shorts previously screened at Toronto After Dark last October – including the Christine-inspired Vicki, Game from Nova Scotia, and my buddy Darryl Shaw's weird-ass effort, Garlic Bread Man vs Superbo Lasagna Man – there were several premieres, as well.

I liked the wonderfully simple and analogue nature of Richard Karpala's DeadBox, even if it was clear to me about halfway through where it was going to end up. Hey, better to do that in a short, rather than a ninety-minute feature, right?

The British short Death Scenes from Joel Morgan packed a lot into its seven-minute running time, with its cool little self contained mystery and solid payoff. Check it out below

EagleWalk was one of the few over twenty-minute that actually justifies its running time. When it was finished, I felt like I'd watched a full length creature feature, with all the extraneous stuff taken out. I was also quite refreshing to see someone tackle Bigfoot, as you don't really see that much these days. You can check out the entire short below.

My favourite short of the night was J Feeney's Killer Kart. Ever since I saw Intruder in my teens, I've always found supermarkets such interesting settings for horror flicks. I found the caliber of acting here above par, especially considering this was film was done while Feeney was in film school. He's definitely a talent I'll be keeping my eye on. From the trailer below, you can see where his influences lie.

Sunday, January 27, 2013

DKTM 167

Hello boys & girls. I'm going to keep things brief this week, so here goes.

Shining. Addendum.

The Shining fan site The Overlook Hotel, recently posted something of extreme interest to fans of Kubrick's classic adaptation of the Stephen King novel. The ending we all know of Wendy & Danny leaving Jack to freeze in the hotel's hedge maze was not the way in which the film originally concluded. In its initial incarnation - which actually screened in New York and Los Angeles, before the prints could be recalled and altered - there was a hospital scene where hotel manager Ullman visits Wendy & Danny after their ordeal. Click the image below to check out the last few pages of the screenplay.

After Kubrick first watched the film with a London audience right before its release, he decided that the final scene was unnecessary and had it struck from all prints of the film. As with pretty much everything he ever did, he made the right call.

Music To Die To.

This week, about ten minutes of composer Roque Banos' score for the upcoming Evil Dead remake was released online. Perhaps most striking about this score is its thematic range. At points, it is soft and unassuming and others, it is unequivocally boombastic. Take a listen below.

Saturday, January 26, 2013

Once Upon A Time...

A movie I'd been looking forward to for a while – especially since Paramount pushed back its release a full year – was Tommy Wirkola's Hansel & Gretel: Witch Hunters.

All grown up after their childhood encounter with an evil witch, Hansel (Jeremy Renner) & Gretel (Gemma Arterton) now hunt them for a living as bounty hunters.

I could tell from the trailers that this was likely going to be my bag, but I ended up enjoying Witch Hunters more than I was expecting. Wirkola (of Dead Snow fame) was clearly using Army of Darkness as a template, even so much as to make the opening baddie – the infamous gingerbread house witch – look decidedly Candarian in appearance. Though not as flamboyant as Raimi, many of the movie's action set pieces are seeded with his brand of splatstick.

Gemma Arterton & Jeremy Renner in Hansel & Gretel: Witch Hunters.

This attitude is perfectly complimented by the two leads, Renner and Arterton. Since neither are strangers to big budget action, they looked completely at home in these highly physical roles. I was also taken with Renner's love interest Mina, played by Finnish actress Pihla Viitala, as she reminded me of a curvier Kate Mara. Yeah, let that image sink in. However, perhaps most perfectly cast is Famke Janssen as the big bad Muriel. When she first appears on screen, all I could think was, “man, this just feels right.”

I think the biggest strength of Witch Hunters were the creature designs. The creative term went above and beyond here, as there are all manner of witches crammed into the running time. The climax features several dozen distinct makeups, some of which are only glimpsed for a moment, but all tell a story. It was this attention to detail that finally won me over.

Famke Janssen as the Grand witch Muriel.

This movie was also considerably more gory than I thought it would be. While it is true that a lot of the blood staining the walls is digital, it was good to see that Wirkola hasn't toned down his love for dismemberment. Actually, you may be surprised by how much of the effects work was done practically, specifically the animatronic scenes with the troll character, Edward.

I won't say the movie doesn't have its faults though. There are some unnecessary plot points and the employment of modern language and technology in a medieval setting is something you'll have to choose to accept, but for me these were easy roadblocks to traverse.

At a brisk ninety minutes, Witch Hunters doesn't overstay its welcome and concludes in such a way that I would gladly watch another, if Wirkola and company were so inclined. As far as I'm concerned, this movie delivered on the promise of its trailer, which, these days, is a feat in itself.

Thursday, January 24, 2013

Hour of the Wolf (#9)

The next title I checked out from the Time Out Best 100 List was Ingmar Bergman’s 1968 film Hour of the Wolf.

Alma (Liv Ullman) relates the story of the ill-fated island vacation with her artist husband Johan (Max Von Sydow).

I’m getting down to the final few titles now and judging by what I have remaining, this process may also act as an informal film school.

Before all the bells and whistles of today, Bergman and filmmakers of his era were of a different breed, using the tools of narrative and inference like master craftsmen. In Hour of the Wolf, Bergman employs an even keel of dread throughout, thus amplifying the effect when he throws something abstract into the mix. I was especially caught off guard at the film's rather abrupt conclusion. It was only on my second viewing, and again hearing some of those early conversations between Johan & Alma, that things became clear. This is one of the strengths of this film, as Bergman is not concerned about spelling out what is and isn't real. He merely tells the story via Ullman's character and leaves it up to you to interpret it however you like. I found the underlying theme of infectious psychosis really intriguing, and surprisingly unique.

Max Von Sydow (left) & Liv Ullman in Hour of the Wolf.

I also find Hour of the Wolf fascinating because it falls in a time period where I can see films from which Bergman drew inspiration, as well as ones that were later influenced by him. Even though my knowledge of pre-sixties horror films is limited, I can see that Bergman’s visual palette may have been drawn from European silent era pictures like Nosferatu and The Cabinet of Dr. Caligari. I also thought there might have been a whiff of Herk Harvey's Carnival of Souls, but I know not whether Bergman would’ve ever seen that film prior to 1968.

On the flip side, it seems to me that Hour of the Wolf would have been the kind of thing that a young David Lynch would have eaten up. That strange and foreboding conversation between Alma and the old lady with the hat early on in the movie is exactly the kind of exchange we’ve been seeing in Lynch’s work for decades. And that's not even mentioning his penchant for protagonist insanity and symbolism.

See what I mean?

Moving on from that, I was impressed with the naturalistic performances. After growing up seeing Max Von Sydow in countless films - The Exorcist, Dreamscape, Strange Brew and Dune just to name a few – it was cool to see him in one of his earlier roles. Although, even here he still looked like an older gentleman, which makes me wonder if he was ever young. Ullman is also great and reminded me a little of Jessica Chastain, but that could very well have been due to me seeing three of her films that same week.

So, for excelling in simplistic storytelling alone, I can see why Hour of the Wolf is on the list. When you add in the great cast and the dreary look of the film, you have yourself something that really sticks to your bones.

Tuesday, January 22, 2013

Trailer Tuesdays: Innocent Blood

Here's another one from the early nineties called Innocent Blood.

Genre buddy cop pictures (and by buddy cop I mean one is human and the other's not) were nothing new by this point as it'd been done previously in such pictures as The Hidden, Dead Heat and Alien Nation, but what made Innocent Blood rise to the top was it had the John Landis touch. When it comes to mixing horror with comedy, there are none better.

Plus, this is one of those movies where you need a scorecard to keep track of all the cameos, as familiar faces like Sam Raimi, Dario Argento and Tom Savini, among others, all show up during the festivities.

Monday, January 21, 2013

New Acquisitions

Here are some VHS goodies I picked up this weekend, courtesy of The Vault.

I saw Soultaker and Nightwish during my tenure at Cockbuster and the other two I picked up - in true eighties video store fashion - because of their cover box art.

Sunday, January 20, 2013

DKTM 166

Hello all. While I recover from my first hockey hangover (it's been WAY too long), here's some juicy horror tidbits from this last week.

Trailer Trash.

Sundance & Slamdance are currently underway, so today I'm bringing you a few trailers for films now screening in Park City. The first is S-VHS, the follow-up to last year's anthology sensation V/H/S. This crew includes the likes of Jason Eisener, Eduardo Sánchez & Adam Wingard. Here below, is a peek at the upcoming analogue chaos.

Second, is a teaser for a new backwoods flick called Jug Face. Larry Fessenden was co-producer on this one, and we all know he has a pretty good track record in that capacity of late. This trailer also has some of the freakiest pottery I've ever seen!

Cabin Roll Call!

Toronto-based artist Trevor Henderson recently inked something epic. Below, is a depiction of the climactic showdown from last year's Cabin In The Woods.

Right click to enlarge.

This print will also be available in colour, as well. To see more of Trevor's work, you can check out his site here.

Le Perv.

Just when you thought the whole Grindhouse movement was all played out, French-electro artists Carpenter Brut got together with Silver Strain to produce this wonderful little homage to Italian sleaze. I'm sure you can discern from the screen cap that this is NSFW. Enjoy!

Friday, January 18, 2013


Andrés Muschietti's Mama, the first horror picture of 2013 – well, the first one worth mentioning anyway – releases today.

Rescued after living in the woods for five years, Victoria (Megan Charpentier) & Lilly (Isabelle Nélisse) go to stay with their uncle and his girlfriend. Soon, it becomes apparent that something may have followed them.

As I've said before, producer Guillermo del Toro has a very good track record for recognizing talent and facilitating their visions onto the big screen. Expanding on his three-minute short from 2008, Muschietti has fashioned himself a solid little film here.

Mama succeeds on a few different levels, but first and foremost is due to the performances of its young leads. Charpentier & Nélisse are quite remarkable, especially when you consider their roles require them to behave like animals rather than children for a good chunk of the film. At their age, this isn't something that can be taught, so it is raw talent and instinct we are seeing onscreen. It also helps – and this is a testament to the kind of power del Toro now wields within the industry – that the adult leads are top tier talent like recent Golden Globe winner Jessica Chastain and the “King killer” himself, Nikolaj Coster-Waldau.

Aside from that though, I was taken aback by how wonderfully shot this film was. It has several well conceived set pieces, including a dream sequence with a very unique visual style. There was also a definite Asian horror influence in Muschietti's execution, which I thought suited the material. I was drawn in by the energetic artistry on display for most of this film.

Isabelle Nélisse (left), Nikolaj Coster-Waldau, Megan Charpentier & Jessica Chastain in Mama. 

Sadly, as is the case with many horror films these days, the overt visual effects do become a problem toward the end. Still, Mama is a big improvement over 2011's Don't Be Afraid of the Dark because at least Muschietti holds back for as long as possible. Using clever ways to mask her, such as blurring and flashes, it is a good stretch into the film before we see Mama full on. Even though the design is rather cool, some practical integration would've helped a lot.

It is also distressing that the third act feels clunky and contrived. Fortunately, I was invested enough by then to be more forgiving than perhaps I should have been. It wasn't like my experience with last year's Sinister, where everything went off the rails to the point where I was just rolling my eyes by the time the credits rolled. There was just too much good stuff within Mama to write it off for lazy fourth-quarter screenwriting. Plus, considering the parade of duds Hollywood trotted out last year, Mama looks like a masterpiece by comparison.

No, I stand by my declaration that Mama is the first good horror film of 2013.

Tuesday, January 15, 2013

Trailer Tuesdays: Alone In The Dark

This week's trailer is Alone In The Dark. Not to be confused with Uwe Boll's cinematic abortion, this 1982 slasher was directed by Jack Sholder (of The Hidden and A Nightmare on Elm Street 2 fame).

Courtesy of PsychovisionTV

A few things come to mind while watching this trailer. First, if we were giving out awards for “worst babysitter ever”, I'm sure this girl would be a nominee. Second, I have to say I'm surprised that this film isn't more well known, considering it has not one, not two, but three horror heavyweights in it. Plus Murdoch from TV's The A-Team!

It's been a very long time since I've seen this movie, but there are still a few bits that stick in my head, including the sex scene glimpsed in the trailer, as well as a pivotal scene with a character named Bleeder. He is significant because he dons a hockey mask during the film, much like Jason Voorhees did in Friday the 13th Part III.

Funny thing is these two movies were both released within a few months of each other, so it is highly unlikely one knew about the other. I guess it's just one of those things.

Sunday, January 13, 2013

DKTM 165

While we enjoy record highs here in the GTA, here are some genre tidbits to keep you all fed.


For those of you who have not yet had the pleasure of seeing Resolution, Justin Benson & Aaron Moorhead's genre bending effort from last year, you'll get your chance when it releases on VOD and theatres on January 25th. In the meantime however, here is a newly released poster for the film. Great stuff!

Okay, This Is The Last One.

One of the nice horror surprises of 2010 was The Last Exorcism. Supported by the performances of its two leads (Patrick Fabian & Ashley Bell), it was a resounding success at Toronto After Dark that year. So, this year brings the release of its sequel, aptly titled The Last Exorcism Part II. Reprising her role as Nell, Ashley Bell looks to raise some more hell. Here below is an promo image and trailer for the film, set to hit theatres March 1st.


I mentioned earlier this week that Panos Cosmatos' 2010 mind trip Beyond the Black Rainbow recently hit Netflix, and the synth score was by far its strongest element. After looking around YouTube, I managed to find a few samples on which to feast your ears.

Friday, January 11, 2013

Netflix Pix 6.0

The Canadian Netflix catalogue has been ballooning over the last few months, so I feel it's time to do another Pix post. Here are some choice genre cuts worth checking out.

As you may remember, I picked The Pact as one of my top five horror films of 2012, so now you can see what all the fuss was about. Part modern giallo, part supernatural thriller, this film is a gem anchored by wonderful cinematography and a solid performance by star Caity Lotz.

Kill List is a British thriller that was on a lot of 2011 top lists after it premiered at TIFF. Ben Wheatley is an exciting filmmaker who seems to always be improving – his latest film Sightseers is his best yet in my opinion – and has won many over with his unique mix of light and dark.

One of my favourite films of the “aughts” is now available on Netflix. Session 9 excels in every facet of what I love about the horror genre. Just the act of making David Caruso palatable should give you an idea of the amount of talent possessed by director Brad Anderson. He would go onto make two more exceptional thrillers (The Machinist & Transsiberian) before striking out with the 2010 dud Vanishing on 7th St.

The Reef was Andrew Traucki's follow-up to his solid 2007 killer croc film Black Water. It treads the same water (see what I did there!) as 2004's Open Water, so if you enjoy being scared shitless by the prospect of being stranded at sea, well come on in – the water's fine.

While I was not a big fan of Beyond the Black Rainbow overall, I cannot deny that there are some fabulous elements within this film. Director Panos Cosmatos creates an aesthetic that will make you question what year this was actually made. The synth-heavy soundtrack is by far the best thing about the project, so much that I would happily shell out moneys to own it. Are you listening, Jeremy???

Netflix has made the greatest strides recently with its television programming. Anyone who has the audacity to say that Netflix isn't worth the money because there is, “nothing on there” deserves a kick in the jimmies. You could spend an entire week with Big Red and still not even put a dent in what it now has to offer. On that note...

The 2009 CBS series Harper's Island is now available. I did not expect much when I saw this during its original run, but ended up really enjoying it. At that was even before I realized CKR was in it. Sure, it may have been largely network fluff, but it was damn entertaining! It was like Dawson's Creek crossed with Ten Little Indians. If you find yourself with a Sunday free, I recommend you burn your way through it.

Wednesday, January 9, 2013


Last year, I wrote and directed a short film entitled Orange. Said film is now online for you to view if you are keen. It needs little introduction, so all I'll say is that it is the story of a man, a woman and a park bench.

Tuesday, January 8, 2013

Trailer Tuesdays: The Vagrant

God, I loved the nineties. Before the bottom dropped out of the horror genre circa 1993 (it was later revived by the release of Scream a few years later) video stores were inundated with all manner of offbeat horror pictures. Chris Walas' The Vagrant will always stick out to me as one of the most bizarre of all.

Trailer courtesy of mauricesupple.

Judging from the trailer voice-over and coverbox, this project was some sort of attempt to cash in on the success of Home Alone, using Bill Paxton's ample comedic talents to carry it. To his credit, Paxton was ubiquitous at that time, as you couldn't spit in a video store without hitting something he was in. Perhaps this movie struck a cord with me because it was similar in tone to the stuff Sam Raimi was doing in that stage of his career.

God, I loved the nineties.

Monday, January 7, 2013

CAST 2012

The 3rd Annual CAST (Cinema Appreciation Society of Toronto) awards were posted last week. For those not in the know, a loose collective of GTA bloggers (including yours truly) compile their top films of the year, which are then tabulated by James McNally (of Toronto Screen Shots) into one big list. Here's what ended up being CAST's Top Five Films of 2012.

1) Moonrise Kingdom
2) The Master
3) Looper
4) Skyfall
5) The Imposter

Based on the past two years, I have noticed a widening gap between my likes and the rest of CAST 2012 did not buck this trend, as my top five were;

1) The Avengers
2) Headhunters
3) Byzantium
4) Django Unchained
5) Resolution

The Avengers may seem like a surprising choice, but there was no other movie that I had as much fun watching in 2012 as Marvel's uber-project. It was also one of only two films that I saw multiple times in the theatre (Cabin In The Woods being the other).

As for the official top five, I don't get Wes Anderson, so I generally avoid his films, and I feel Looper received a little more praise than it perhaps deserved - much like Drive last year. I didn't get a chance to see The Master, but I'm sure I will at least appreciate the performances once I get around to it. Skyfall was highly enjoyable - it was #7 on my list - but not the BEST BOND EVER that a lot of people seemed to be screaming from the rafters.

For the full twenty-five titles on this year's CAST list, click here.

Sunday, January 6, 2013

DKTM 164

Hello all, here's your first DKTM of 2013!

Slasher Squad!

I came across a cool crowd funding campaign this week on A couple of Aussie filmmakers are trying to drum up funds to finish their horror short entitled Slasher Squad. The byline is as follows;

“SLASHER SQUAD is an 8 minute, action-horror short film about a team of sexy and deadly women who hunt slasher villains by using themselves as bait. Think of a darker CHARLIE'S ANGELS meets FRIDAY THE 13TH, inspired by the likes of BUFFY, MISSION IMPOSSIBLE and even SCOOBY DOO. It’s not a comedy but has a wicked sense of humour, playing with the conventions of the genre alongside films like Wes Craven’s SCREAM and Joss Whedon’s recent CABIN IN THE WOODS.”

And here's their pitch video.

This is a genre stew that obviously has me intrigued. With the Behind The Mask sequel and live-action adaptation of Hack/Slash still nowhere to seen in the near future, Slasher Squad seems like a decent alternative. If you'd like more info, check out the main Pozible page here.

Down Underneath.

I've been hearing good things about a certain Australian sci-fi horror project called Crawlspace. Here, courtesy of Twitch, is a tiny clip.

It looks like it borrows a lot of elements from Paul WS Anderson (namely Resident Evil & Event Horizon), but hey I'll give it a shot.

Red With A Capital R.

Having made the decision to check out the Evil Dead remake, I need not see anymore of the promo materials that likely only serve to ruin all the good bits, but for those who are still inclined, here is the latest Red Band Trailer. The Evil Dead hits theatres April 12th.

Thursday, January 3, 2013

2013 Preview.

A new year is upon us, and with it brings a new crop of horror flicks to look forward to. Here’s what’s on my radar for 2013.

World War Z (Jun 20th)
All concerns and grievances aside, I can’t help but be excited for the world’s first zombie blockbuster to hit screens. The CG-laden trailer does recall I Am Legend, but I still remain optimistic. The original wonder script by J. Michael Straczynski has since been retooled to beyond recognizable, but at least it looks like the The Battle of Yonkers remained intact. Mainly, I just hope director Marc Forster has learned how to shoot an action scene since Quantum of Solace.

Even after failed attempts at fractured fairy tales like Red Riding Hood, Brothers Grimm and Van Helsing, I'm still looking forward to this one. I know the odds are stacked against it, but call it a guilty pleasure. I had a smile on my face through most of this trailer and it seems everyone on board knows what kind of project they are making here. Tommy “Dead Snow” Wirkola has a great sense of humour, and I'm hoping it carries over here. At the very least, action veterans Jeremy Renner & Gemma Arterton will likely make a kick-ass team.

Nurse 3D (TBD)
I was expecting this to hit last year, so again I reiterate, look at this poster!!!

Mama (Jan 18th)
Guillermo del Toro has a good track record playing sire to new talent, but I hope this one is more The Orphanage and less Don’t Be Afraid of the Dark. I’ve been deliberately avoiding the trailer on this one, but  I do know the cast is great and the byline promising.

A follow-up to last year’s analog horror anthology V/H/S, this year’s roster of filmmakers includes the likes of Jason Eisener (Hobo With A Shotgun), Eduardo Sanchez (Lovely Molly) and Simon Barrett (writer of You’re Next). It is premiering at Sundance in a few weeks, so I’m sure I’ll be seeing it here sometime in the fall.

Stoker (Mar 1)
Chan-wook Park, the director of the infamous Vengeance Trilogy is back with his first English language picture. As you would expect, it looks exquisite and is sure to include several deliciously grim twists and turns. Also, in my opinion, the only thing better than Nicole Kidman, is evil Nicole Kidman.

Horns (TBD)
Following in his father’s footsteps, writer Joe Hill sees his first project adapted for the big screen. Daniel Radcliffe stars in a story about a man who suddenly sprouts some pointy appendages following the death of his girlfriend. I enjoyed Piranha 3D as much as the next guy, but I am glad to see director Alex Aja return to his more sinister disposition.

There are of course no shortage of sequels in the pipeline, but based on past successes I am mildly interested in The Last Exorcism 2 and Insidious 2. And it goes without saying I am onboard for another go-round with everyone’s favourite killer doll in Curse of Chucky.

As far as remakes go, Carrie and Maniac show some promise, as does Jim Mickle’s redo of the Mexican cannibal flick We Are What We Are. More importantly though, I’ve decided to throw caution to the wind and just jump into this Evil Dead movie with both stumps.

Five films that I have seen that should hopefully be enjoying theatrical releases this year are You’re Next, Byzantium, Resolution, The Lords of Salem and Here Comes The Devil. All have my seal of approval, so be sure to catch them if they hit a theatre near you.

Lastly, I hear that Richard Raaphorst's undead Nazi opus Frankenstein’s Army is near to seeing the light of day. Apparently, a finished product has been seen by a chosen few. Hopefully, the almost ten-year wait (this is the project that the online sensation Worst Case Scenario eventually became) will be worth it.

Okay, here's to horror’s best and brightest came bring it this year!