SXSW Variety Film Review: Unsettling Found-Footage ‘Creep’ (2013) Delivers “A Knockout Payoff”

We couldn’t find a trailer online for this (or more than one still, shown above), but I have yet to see a review from SXSW that was negative, or even mediocre.  Here’s the link to the IMDB page for Creep, though if you want to find more external reviews, you’re better off doing a Google Search.  Click “View original” on the lower left to check out James Hibberd’s SXSW review.


‘Patrick: Evil Awakens’ Gets Excellent Review From – We’ll Be There!

March 18th on VOD? After reading this, we wish we could watch it TONIGHT. Mark Hartley’s “Not Quite Hollywood,” which I can’t recommend enough to any film fan, especially if you’re into old-school, low-budget exploitation films (unless you’re easily offended) reminded us about the original Patrick (1978) and showed the gore that was cut from most releases (unless I’m really missing something; the version that I saw when I was maybe 12 seemed pretty tame, and it’s not like I was some jaded 12-year old, even though I was into horror that early).  With buzz like this, we’d see “Patrick: Evil Awakens”  even if Mark Hartley wasn’t directing, but puts it on our VOD list of movies we start searching the menu for at 12:01 AM Monday (OK, technically Tuesday, but you get the idea) and get an adrenaline burst when we see it fresh on the menu for the first time.  Check out the attached Variety review by click on ‘View original’ down in the lower left).

‘True Detective’ Finale Review: Truth, Justice, and the Satisfying Surprise of a Happy Ending

Errol Childress: Come and die with me, little priest.


Oh, SPOILER ALERT if you haven’t seen True Detective and plan to. Here’s an excellent review by Jess Jenson for on the True Detective finale, “Form and Void”, that aired Sunday night and crashed HBO GO due to the amount of people trying to watch. I was really expecting one of the characters I cared about (or worse yet, all of them) to die horribly. Instead, though the finale was dark as hell and didn’t disappoint. Aside from all the obvious, memorable nightmarish imagery–and there was plenty; Errol’s…wife? (half-sister? Sister? Like Marty, we don’t want to know the DNA results) scared the hell out of us, especially her responses to Marty’s questions when he first tries to communicate with her, as follows:

Marty (Getting nervous): Uh– hey, where is he?
Woman: All around us… before you were born… and after you die.


The line delivery by the actress was so goddamned creepy that I shivered; her intermittent screaming at what looked to be their vicious German Shepherd dog purchased specifically to scare the shit out of/attack any trespassers, then going back to her normal calm yet clearly disturbed self, creeped me the hell out too.*.

Side note: I’m not 100%–OK, to be honest, 50% clear–who the fly blown, almost naked older man was in the guest house) or whatever building housed him) tied to a bed frame. He looked like (EEK) his lips were sewn shut, and when they only showed, say, a vague shot of his feet in that first scene he appeared in where Errol talks about ‘hosin’ him down’, I figured it was A. some poor girl or woman who had been their victim for a long time that Childress did horrible, horrible things to on a regular basis or B. what would be revealed later as a horribly rotten, long-dead corpse or C. a combination of the two. Still not 100%, but I’m pretty sure he was breathing. Please chime in below in ‘Comments” if you have an answer, by the way, because now it’s bugging me.

Anyway, here was as much of an ‘upbeat’ ending as this season of True Detective can have**. Anyway, Mr. Jenson says it much better than I could (you may have noticed that I’ve been a little frazzled the last month or so–complicated workload– but I’m improving), and if you were a fan of this first season, the review/analysis is well worth checking out.

Screen shot 2014-02-28 at 5.50.39 AM

*If I’d been in Marty’s shoes at the time, I don’t care how macho/alpha-male his character is (also considering the fact they’d mentioned their cell phones couldn’t pick up a signal; we horror fans know what happens when you’re out in the middle of nowhere and someone says they can’t get a signal, so hey, must be outside of the service area) I would have just said, “Welp, think I got about all the information I need, ma’am! I won’t be bothering you no more, I’m leaving now!” as I was hastily backing away, then found Rusty (though I wouldn’t go poking around too much, given the toxic, evil and just plain WRONG vibes that swamp property and the fucked-up owners gave out) and said, “OK, I’m out. Either we come back here with a dozen cops for back-up, or just bring in the next guy who can deal with this, I’m done. You getting in the car, Rust? No? Tell you what, I’ll just wait in the car for a few minutes with the motor running and the doors locked, then after five minutes, you’re on your own.”

**Raise your hand if, upon your first watching, you were POSITIVE Rusty was going to get killed off by the end of the episode. I thought when Marty asked about him, the detectives would look glum and tell Marty they were very sorry to tell him that Rust hadn’t made it through surgery alive.

Screen shot 2014-02-28 at 6.28.52 AM

Sundance Film Review: ‘The Raid 2: Berandal’

As before, the giddily over-the-top action attains a hyper-real quality that stays just this side of believable thanks to a combo of sweeping handheld camera moves (by lensers Matt Flannery and Dimas Imam Subhono) and expertly chosen locations that turn Jakarta’s brothels, subways, restaurants, offices and highways into one sprawling, splattery urban playground. If the action choreography (handled by Evans, Uwais and Ruhian) tilts toward the usual tactic of having a bunch of bad guys line up and wait their turn rather than clobbering their opponent all at once — a tactic that works better in close quarters than in wide-open spaces — the stunt work happily remains too consistently, impossibly convincing to dull the pleasure in the moment. And once again, the director (who edited the film with Andi Novianto) proves a dab hand at keeping the action in near-continual motion without sacrificing visual clarity.

-From Justin Chang’s attached Variety review of The Raid 2: Berandal

Oh! That’s why The Raid 2: Berandal didn’t show up in Variety’s SXSW review column after the SXSW premiere: press showings were back in January! Whoops. Well, we’ve finally got a link to it, anyway. The below is a photo Gareth Evans tweeted. This is actually the less bloody one:

Screen shot 2014-03-12 at 3.45.34 AM Check out Justin Chang’s review from Variety by clicking on “View original”. This time around, sounds like a little more of a slow burn, but we’re still there if it plays in the theater. Especially for bad-ass “Hammer Girl”…

Screen shot 2014-03-12 at 3.42.20 AM

“That Guy Dick Miller” — Check out an Exclusive Clip on from Documentary on Cult Actor (VIDEO)

We have no idea how we missed this, but here it is now. The earliest thing I remember seeing Dick Miller in –in the movie theater, that is– is The Howling in 1981 as the occult book store owner (hence the featured photo above). has the trailer for the movie …and an exclusive clip! Click ‘View Original’ to check it out on The trailer for “That Guy Dick Miller” is here too, plus the poster.  We’re so glad he’s still around… and that this documentary is here, too!

Check out the new poster for ‘The Raid 2’ — EXCLUSIVE IMAGE

(This is exclusive to Horror Boom just reblogged it). Check out a larger image AND the trailer for the upcoming The Raid 2 by clicking on “View Original” in the lower left.  Plus, we’ll post (or re-blog) Variety’s SXSW review…the premiere is tonight!

Taste This! Robert Rodriguez Q&A: ‘From Dusk Till Dawn’ and What’s Wrong With TV (

EW: How are you balancing that in the series? And once you open up the supernatural element can you get back to a crime story within the show?

RR: Yeah. Originally in the movie it wasn’t supposed to be that way. Quentin was hired by some special effects guys to do this story about a couple robbers who showed up in a Mexican bar and it was full of vampires. When Quentin went to write it he was so into his characters he kept delaying until he got to the bar. It was never supposed to be halfway. It became this hybrid and it was unsellable. Nobody could understand it. Nobody wanted it. Then Pulp Fiction hit and everybody wanted to make Quentin’s script, it didn’t matter. Originally they thought it was weird, you turn the page and there’s vampires! It makes no sense. Suddenly it became avant-garde, it’s two movies in one! We said, “Let’s go make it now while things are hot because they’ll never let us do it again.” For the TV show, I wanted it to be much more engrained. It’s a crime saga with supernatural elements in every episode. The supernatural element starts off small in the first episode, but the reveal when you get to the bar is so much more powerful because you’ve been getting seduced into it.

-From the attached interview with Robert Rodriguez By James Hibberd

Screen shot 2014-03-09 at 4.35.23 AMWe can’t WAIT to re-enter the mythology… which is why we’ve got to make a call to Comcast/Xfinity and try to get an answer from them on when the El Rey Network is going to show up. We don’t want to wait, and especially don’t want to watch something that takes place in the From Dusk Till Dawn universe on a damn laptop or iPad. Click on “View Original” on the lower left to sink your teeth into the entire interview–it’s a nice, juicy long piece by James Hibbard.

Screen shot 2014-03-09 at 4.59.53 AM

Too bad THIS guy won’t be showing up in the series, though!

TV Review: ‘Those Who Kill,’ ‘Bates Motel’ on A&E (

OK, so we’ll be skipping “Those Who Kill,” and watching Season Two of “Bates Motel” to see Vera Farmiga’s performance, which was the most entertaining thing about Season One. Seeing Kenny Johnson (who, as longtime super-fans of Shawn Ryan’s “The Shield, we’ll always remember as Curtis “Lemonhead” Lemansky, we’ll watch in anything*) as a new addition to the cast won’t hurt either, and there’s no possible way this can be as painful to sit through as the few episodes of the final season of Dexter that he played a federal agent in.  We still worry about Bates Motel fucking up the mythology of Norman and Norma Bates, though.  It wouldn’t have killed them to make it a period piece; so far nothing crucial to the plot or characters that required the show being set in the present.  Norma still encounters plenty of sexist bullshit while trying to run a hotel while being female, so it wouldn’t be THAT big of a difference.

Screen shot 2014-03-04 at 3.29.43 AM

*Okay, my husband will watch Kenny Johnson in anything good, I’m the one who’ll watch him in anything because I’ve had a crush on him since 2006. Uh, have you seen that smile and those ARMS? Also, the last season and the last few episodes of Dexter were so bad that if I could go back and do it again, I’d just sit the whole thing out. It wasn’t worth the waste of my time no matter how sexy any guest star was. Make that the last two seasons. Sheesh.

‘Jim Henson’s Creature Shop Challenge’: Get a first look at innovative new Syfy series — EXCLUSIVE VIDEO (

THIS has some serious potential! Click “View Original” on the bottom left of the article to watch the two fun promos.  When I’m one the fence about seeing a scary movie, and I see people credited with “Creature Effects”, that decides it for me. Read on…