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    “SEE NO EVIL 2″ (Screamfest Movie Review)

    In true horror sequel tradition, SEE NO EVIL 2 picks up just moments after the first’s finale. The crazed killer with a hellacious hook, Jacob Goodnight (Glenn ‘Kane’ Jacobs), has been skewered through the eye and thrown through a window. Scraping up the gory remains of him and his victims, the ambulance drivers make a rather gruesome delivery to the local morgue. This puts a real hitch in the birthday plans of coroner Amy (Danielle Harris), who’s forced to work the graveyard shift. But that doesn’t stop the celebration… Amy’s buddies bring cake and booze to the morgue and party like there’s no tomorrow. Which, of course, there isn’t when a certain surprise stiff shows up. 

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    “PARLOR” (Screamfest Movie Review)

    In this mostly miserable mash-up between MIAMI INK and HOSTEL, a group of drunk, horny teens living it up in Lithuania fall prey to a tattooed madman and his evil assistant. Pretty much anyone who’s seen a horror movie knows that an Eastern European Bloc party is not going to end well… and of course, that’s what we’re hoping for when the lights in the theater go down. But when it doesn’t start well, that’s trouble. 

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    “THE HOUSES OCTOBER BUILT” (Movie Review)

    From the title and the interview clips in the first few minutes, THE HOUSES OCTOBER BUILT appears to be framed by an inquiry into the creation of haunted attractions, and their relation to the human urge to scare and be scared. Then, up comes that oh-so-familiar text line: “The following footage was shot by five friends…”

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    “AMERICAN HORROR STORY: FREAK SHOW 401: Monsters Among Us” (Review)

    There isn’t much room for normality in FREAK SHOW. There’s never been any in AMERICAN HORROR STORY, at all. Three seasons of fluctuating between unending ghoulishness and spritely trash, the delicious wrong of this anthology series has seen a few constants: a roving, dizzying, dazzling camera; bad bitches as played by Jessica Lange; and a thematic through-line of being ostracized. In its fourth season, the second of which is fully period-set, co-creators Ryan Murphy and Brad Falchuk have dipped further back into an atmosphere of repression (1952), one that circles the free-flowing madhouse of a carnie sideshow full of freaks and outcasts and those unwelcome in ordinary society. It is perhaps AMERICAN HORROR STORY at its least subtle (that’s something!), and yet as season premiere “Monsters Among Us” unfolds, also its most focused. 

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    “LOST SOUL: THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR. MOREAU” (Movie Review)

    Riding high on the wave of unforeseen success created by his arty 1990 dystopian flick HARDWARE, Richard Stanley turned next to a passion project adaptation of H.G. Wells’ THE ISLAND OF DOCTOR MOREAU—which, after years of expending chutzpah and actualizing willpower, the South Africa-born writer-director somehow manages to get his provocative, imaginative take on the story green-lit by New Line with Marlon Brando installed in the lead role… 

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    “INNER DEMONS” (Film Review)

    It’s no surprise that indie horror has embraced found footage, considering the leeway given by the shooting style and low budgets. For every independent release, there also seems to be a new justification for the found footage element, often times presented as a gimmick to differentiate from the fan-repellent studio fare. Sometimes, that gimmick is precisely the reason why the film is so effective; not just in ingenuity but in execution as well. Such is the case for Seth Grossman’s INNER DEMONS, a found footage possession film that is a little familiar and a little goofy, but also genuinely engaging.

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    “HANNIBAL: SEASON TWO” (Blu-ray Review)

    Despite ratings that pale to those of THE WALKING DEAD, there’s little doubt that Bryan Fuller’s HANNIBAL is more fun than any horror show currently on television. By existing in its own universe and playing by its own logic, HANNIBAL is able to deliver excellent drama, tremendous performances and some of the most shocking gore ever presented on network television. Beyond that, HANNIBAL is a show of utter confidence; often delving into the surreal and perturbed, the show trusts it’s audience to go along for the journey no matter what weird direction they may be taken.

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    Joe Dante’s “THE BURBS” (Arrow Blu Review)

    Joe Dante hit the cultural zeitgeist hard with GREMLINS, delivering a knowing horror comedy for kids at the peak of an era in which children were swallowing up genre VHS rentals at a record pace. The film was such a hit that it afforded Dante about a decade of Hollywood freedom to make strange, self-conscious, genre-bending comedies like THE EXPLORERS, INNERSPACE, MATINEE and GREMLINS 2: THE NEW BATCH. None of them were particularly successful as Dante’s sensibility was always too dark, sardonic, and knowing for massive crossover success beyond that inexplicable Christmas monster movie hit. However, the man’s entire canon from the period has gone on to become cult classics and one in particular seems to only grow in popularity.

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