‘What are you willing to do for love?’

Honeymoon – original title: Luna de miel – is a 2015 Mexican horror thriller directed by Diego Cohen (México Bárbaro II; Romina; Perdidos) from a screenplay by Marco Tarditi Ortega (Dame tus ojos).

Jorge, an eccentric and lonely medical doctor, kidnaps Isabel, his attractive young neighbour, in an apparent effort to submit her to a classical conditioning experiment to make her his woman. However, appearances often hide a more terrifying truth…

Main cast:

Hector Kotsifakis, Alberto Agnesi, Paulina Ahmed, Dunia Alexandra.

Reviews:

“It is gory, and so will both gain and lose audiences because of this, and there are some inevitable tropes, but it does them pretty well all the same, certainly better than most, although it did sorely lack any proper character development or background story, and therefore ultimately any real depth, which potentially could have lifted it beyond its own constraints and above most all others of this genre.” Ionizing

“Honeymoon ends on an epilogue of sorts that doesn’t quite come off, and won’t occupy your brain as long as anything from the previous 90 minutes. It’s a minor misstep however, and not one that can detract from the originality, beauty and stark realism that this incredibly taught and involving gem so expertly builds.” Kevan Farrow, Scream magazine

“An unoriginal story doesn’t stop this film from being a worthwhile watch, Honeymoon has intensity in places which prove rewarding.” Nymus

Buy: Amazon.co.uk

“There are some quite strong scenes that might unease some people, specially those that are not into gore, the effects are very well done, and they actually made me cringe a couple of times. While there are some nude scenes that I think could have been avoided, they worked well in the story, and didn’t feel forced.” Zed Kosnar, Desde Abajo

This Grotesque film production should not be confused with the 2014 American movie Honeymoon, directed by Leigh Janiak.

Filming locations:

Mexico City, Distrito Federal, Mexico

IMDb

The act of slaying one or more of your fellow human beings in a ritual, usually as a token to a God or spiritual ancestors, extends back to the first glimmers of the dawn of Man – the stranger fact is that it is still practiced today.

Taking many forms and seen in a myriad of cultures, these ceremonies, though now far rarer than once they were, still hold a fascination for the creative arts, and human sacrifice is one of the go-to platforms for the construction of horror film and literature, from Greek myth to Hammer Films and H.P. Lovecraft to Children of the Corn.

Human sacrifice almost always revolves around appeasing a supernatural denizen of a perceived afterlife – the greatest gift seen to offer an apparently vengeful deity being a living (soon to be dead) offering.  The earliest evidence of human sacrifice found thus far has been in the Sudan, where an excavated Neolithic site uncovered evidence of three apparently high-ranking individuals being killed in a ritualistic manner, surrounded by high value ceramics and two slaughtered dogs.

Dating back 5,500 years, this was in the period that Man made the transition from hunter-gatherers to more ‘civilised’ farmers and cultivators. Elsewhere in Africa and seemingly having developed completely separately to this example, bodies have been unearthed in Southern Egypt, dating back to approximately 3000 B.C. which have identifiable marks of having their throats cut prior to decapitation.  Carved tablets from a similar period depict a kneeling person in front of another holding what resembles a sword, a bowl on the ground in front of the former, presumably to catch the spilled blood. A monarch or God in the image strongly indicates that this is a ritualistic killing as opposed to an execution for a crime. Egyptian discoveries feature two of the most common reasons given for killing a human – to appease a God or to ward off potentially disastrous natural events, and to give a deceased elder or leader suitable accompaniment to the afterlife, often buried alive with the less active corpse inside a pyramid or other sealed tomb.

In Asia, similar examples of human sacrifice took place to pay tribute to dead slave owners and high ranking dignitaries – in China, slaves accompanied their masters to the afterlife in both small numbers and mass slayings of up to nearly 200 men, women and children. Across the border in Tibet, pre-Buddhism, the execution of innocent men and women, as well as instances of cannibalism, a practice which rather goes hand-in-hand with human sacrifice, were commonplace – even centuries later, there are a few examples of renegade sects killing people as part of secret tantric rituals.

In India, the South Pacific, many parts of Africa and most famously, South America, sacrificial human offerings are well documented from ancient and not so ancient times. These range from the use of a sharp implement to cut the neck (or remove the head entirely), the resulting blood or body parts often drunk/eaten or used to make potions and body decoration; the impaling of the victim through whatever orifice was seen most suitable, thus allowing the offering to be on display to the relevant God as a totem; poisonings, flayings, live burials and even more inventive methods.

Mayan and Incan sacrificial ceremonies are amongst the best-understood, largely due to the clear documentation left in the form of ornate daggers, beautiful illustrations, mass grave sites and almost impossibly preserved mummies. Particularly prevalent was the sacrifice of children, a recurring Aztec  ritual requiring the ‘tears of children’ to appease their rain God. South and Central American offerings were on scale significantly larger than many other cultures – confirmed examples have ranged from several hundred at a time to several thousand. An estimate from one historian suggests up to 250,000 Aztecs could have met their end in this way in just one year.

In ancient Hawaii, ritual killings were largely centred on demonstrating military strength, the capture of an opposing tribal chief being cause for especially brutal torture, with the victim strapped upside down on a wooden rack and pulverised with blunt instruments to tenderise the flesh. The triumphant chief would rub his capture’s sweat upon his body and then gut the unfortunate enemy, naturally not wasting anything and partaking of their innards as a reward.

Though the establishment of the major religions we now see around the world, these practices were either outlawed or were rejected by evolving societies. However, sacrifice of a human (and certainly animals) still occurs throughout the world, largely in secret ceremonies still dedicated to the pleasing of a deity. Killings are found in remote areas of India and Sub-Saharan Africa, as part of religious rites, witchcraft and for personal financial gain and well-being.

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Though rarer, the specific practice of Vodun or Vodou /Voodoo is rumoured to occasionally utilise human rather than animal offerings, even in the present day. Other cults, even in Western Europe, still offer sacrifice as part of ceremonies from self-proclaimed messiahs to devil worship – indeed, some  serial killers could well be said to do the same, although in a far more ‘lone-wolf’ scenario.

Human sacrifice in Britain was certainly rumoured to have taken place in the Iron Age, though the tendency was for the offering of a slaughtered animal, usually a horse or dog in exchange for forgiveness or good fortune. Druidic rituals did, allegedly, see humans killed, though it is thought these were more often prisoners of war or criminals. Methods of dispatch have been well documented due to the discovery of several incredibly well-preserved corpses found in peat bogs throughout the 20th Century (a phenomenon also seen throughout Scandinavia).

The most famous British example has been dubbed Lindow Man (due to the location of the discovery) and his method of dispatch seen to consist of a mistletoe-spiked drink and several blows to the head, whilst in Denmark, a similarly well-preserved corpse, Tollund Man, displayed evidence of having been hanged, though it has not been able to ascertain whether this was sacrificial or pure punishment for a crime.

Roman texts, penned by the likes of Julius Caesar, Tacitus and Pliny the Elder, reveal outright disgust at the practice of human sacrifice and cannibalism by the Celts. This, it has to be said, is a tad eyebrow-raising, given the Roman’s penchant for impromptu mass-murder and massacre for sport. However, much of this rhetoric has been disregarded as propaganda, an attempt by the Romans to portray the Celts as inhuman savages. Ironically, the most iconic image of human sacrifice in Britain around this time, the looming wicker man, was almost certainly an animal only offering, with no evidence found to suggest that humans were also encased within and set on fire.

The disturbing and often perplexing history of human sacrifice has lent itself to all areas of art for centuries. The Mexicans and inhabitants of pre-Columbian America celebrated the act in wildly elaborate statuary and paintings. The ever-inventive Aztecs’ actions did rather lend themselves to artistic documentation – the removal of vital organs from living victims, starvation, immolation, drowning and cannibalism were all used to give thanks to one god or another. These have appeared rendered on ceramics and codices, whilst often ornate daggers reveal the planning and importance the sacrifices had in their societies.

The Mayans could at least match these feats, sometimes even trumping them with absurd-sounding ceremonies involving live burial, the bow and arrow equivalent of a firing squad and, most intriguingly, the strange entwining of sacrifice and an Mesoamerican ballgame, in which losing teams would often find themselves beheaded, their skulls becoming ‘bats’ for future games.

There is even pictorial evidence of people being bound up with twine until they resemble the large rubber-type balls usually used, the unfortunates batted and kicked around mercilessly until death or victory. As with the Aztecs, many vessels, paintings and carvings have been unearthed featuring these acts, as well, of course, as the sacred pyramids they were usually centred around, including the dedicated altars.

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Human Sacrifice in Horror Films

The Mummy (1932 and many times thereafter)

A reanimated Imhotep seeks to reanimate his long-dead lover by mummifying the unlucky Helen

The Mask of Fu Manchu (1932)

Boris Karloff, as the diabolical Fu, attempts to masquerade as a resurrected Genghis Khan in order to stir up an Asian uprising into conquering the West. Pre-code, so heady stuff.

King Kong (1933/1977)

Poor old Fay is welcomed to Skull Island to meet their gigantic God for dinner.

The Black Cat (1934)

Satan. Rites. Damsel. Karloff. Lugosi.

The Mole People (1956)

Subterraneran Sumerian crackpots sacrificing elders after mistaking daylight for a mystical oracle

The Devil’s Hand (1959)

Likeable Satanic cult shenanigans, headed by Neil Hamilton (Commissioner Gordon from the Batman TV series)

The City of the Dead (1960)

Atmospheric, if a little threadbare Christopher Lee vehicle

She (1934/1965)

Immortal jungle queen demands an equally long-living companion by immolation in a mystical blue flame

Blood Feast (1963)

Food catering meets Egyptian rites as Fuad Ramses dispatches local girls to please the God Ishtar.

Eye of the Devil (1966)

The title offers more than a nod in the direction this hugely atmospheric though undervalued film takes. Almost certainly the only film starring David Niven, Sharon Tate, Donald Pleasence and John Le Mesurier.

Brides of Blood (1968)

Mutations on a remote island require virginal sacrifices to a local monster.

The Devil Rides Out (1968)

Dennis Wheatley, the go-to for Devil-satiating texts, is brought to film in one of Hammer’s greatest offerings. Those sacrificing are seen to be ‘normal’, respected members of society, as opposed to the popular view of dancing, mostly naked hippies.

The Blood on Satan’s Claw (1970)

Standard English village fare – the resurrection of the cloven one through skin growing and sacrificial rituals.

The Shiver of the Vampires aka Le Frisson des Vampires (1971)

Jean Rollin’s dreamy look at sacrifice in a chateau.

Tombs of the Blind Dead (1971) and sequels…

Though the slowly shuffling zombies are the star of the show, their origins as blood-drinking, Satan worshipping Templar knights at the beginning of this three-film saga are shown in flashback

Enter the Devil (1972)

A grimy entry into the 70’s obsession with Satanic cults

Blood Orgy of the She-Devils (1972)

Ted V. Mikel’s uber-schlocky blood-thirsty witches on the hunt for male blood to offer to the Devil.

The Mummy’s Revenge aka La Venganza de la Momia (1973)

Dazzling, if not entirely gripping entry into Paul Naschy’s attempt to play every famous horror monster

The Wicker Man (1973)

Poor Sergeant Howie gets closer to some frightened goats than he’d like, all for the sake of some apples.

Craze (1974)

Psychotic London-based antique dealer Neal Mottram (Palance) sacrifices women to the statue of African god Chuku in the belief that it will help his ailing finances…

Race With the Devil (1975)

This well-oiled set-up of the inadvertent observation of a human sacrifice leading to a cult in pursuit has rarely been matched.

The Devil’s Men aka Land of the Minotaur (1976)

Tourists visiting a Greek archeological site are being abducted by a strange cult, intent on providing their God – the Minotaur – with a sacrifice!

Mardi Gras Massacre (1978)

Part of the notorious ‘video nasty‘ list, this slaughter for Aztec Gods romp is still unavailable in the UK.

Demonoid (1981)

300 years ago, a Mexican Satanic cult cuts of the hands of their victims to please the Devil. Years later a hand causes mischief.

Midnight aka The Backwoods Massacre (1982)

Backwoods ‘cops’ and their demented siblings sacrifice young women in a psychotic attempt to resurrect their mother’s decomposed corpse…

Q: The Winged Serpent (1982)

Larry Cohen’s hugely entertaining modern day tale of sacrifice in New York, seeing the follower of an Aztec cult sacrificing locals in a bid to appease a huge flying Quetzalcoatl living atop a skyscraper (ironically, a God whom the Aztecs didn’t actually deem as requiring human sacrifice, actually being gifted slain hummingbirds and butterflies)

Halloween III: Season of the Witch (1982)

An ingenious plot sees now iconic masks lulling innocent wearers to their fate at the expense of Old Gods.

Children of the Corn (1984-2011)

Preposterously long-running franchise in which a town’s over-18’s are sacrificed to a cornfield-based deity

Blood Cult (1985)

A local sheriff investigates a spate of sorority slayings that are found to be the work of a satanic cult. One of the earliest shot-on-video releases, it’s a self -sacrifice to sit through!

A Return to Salem’s Lot (1987)

Larry Cohen’s almost universally derided follow-up to the much (and, I would suggest, unjustly) revered Tobe Hopper mini-series see the town farming blood from a supply of non-vampiric folk.

Evil Altar (1988)

In the small town of Red Rock, a devil-worshipping cult led by Reed Weller (William Smith), is in league with the local sheriff (Robert Z’Dar). Weller’s servant is The Collector (Pepper Martin) who kidnaps boys and girls for sacrifice…

The Lair of the White Worm (1988)

Ken Russell’s slightly rude, slightly berserk and slightly entertaining snake god romp

The Guardian (1990)

William Friedkin’s unfairly overlooked, if rather daft tree-worshipping drama with ancient druids needing blood to satiate their idols

Borderland (2007)

With a Mexican backdrop, a refreshing change to the norm with drug runners and cartels mixing with the more traditional religious cults

The Shrine (2010)

A remote Polish village harbours a terrible secret (it’s human sacrifice)

Rites of Spring (2011)

A man known only as the Stranger kidnaps and sacrifices young women as part of a pagan death ritual…

The Cabin in the Woods (2012)

One of the most divisive horror films of recent years offers up a novel depiction of sacrifice, which audiences either loved or hated

House of the Witchdoctor (2013)

Surprisingly competent teens in peril horror.

House of Salem (2016)

When kidnapping goes wrong…

Sacrifice (2016)

An ancient pagan religion requires the sacrifice of young women in the Shetlands

Daz Lawrence, Horrorpedia.com

‘It’s not just a game anymore…’

Truth or Dare is a 2013 American horror film directed by and starring Jessica Cameron (Mania) from a screenplay co-written with Jonathan Scott Higgins. It co-stars Ryan Kiser (Lillith; Red to Black; House of Manson) and Heather Dorff (Scream Queen Stream; Movie of the Dead; Red Eye).

Six college friends find internet stardom when they make “Truth or Dare” videos with a violent twist. It’s all fun and games until their number one fan decides he wants to play by his own rules…

After many festival showings and awards, the film was finally released on DVD + Digital HD by Invincible Pictures on January 24, 2017 and is reportedly selling out fast.

Buy: Amazon.com

Main cast:

Jessica Cameron, Ryan Kiser, Heather Dorff, Shelby Stehlin, Devanny Pinn, Brandon Van Vliet, Jesse Wilson, Buz Wallick, Grae Drake, Brett Wagner.

Reviews:

“Despite some amateur performances, Truth or Dare manages to make its name as 2014’s most f*cked up film and earn plenty of accolades for visual effects. Cameron should be proud as her first foray in the directors seat has left a stamp across the horror community and will require strong stomach for anyone not used to this level of blood and guts on their screen.” BloodGuts UK Horror

” …Cameron’s themes have already been mined more effectively in films like The Den and Lucky Bastard. Her strictly B-movie script, penned with Jonathan Scott Higgins, strings one ludicrous contrivance after another, each requiring the ridiculous response of a weakly crafted character to work, all in the name of extreme gore.” Hope Maddern, Screen Relish

“Jessica Cameron’’s first outing as director is fast-paced and tight. Though the torture is excruciating, it’s the truths of who these people are as individuals that really turns the stomach. The script, co-written with Jonathan Scott Higgins, focuses on horrifying its audience in a different way, with the truth, not the dare.” Christopher Jiminez, ComingSoon.net

“It’s a real testament to the films script and direction that you side with this pretty horrible bunch, of course it helps that Ryan Kiser, as Derik, is such an evil psychotic bastard […] With a lot to say on the pursuit of fame (or infamy) in this YouTube-loving generation, and the price people can pay when they achieve it, Truth or Dare is most definitely a product of our time. It’s also damn good gory fun!” Phil Wheat, Nerdly

Filming locations:

Los Angeles, California, USA
Tucson, Arizona, USA

IMDb | Official site | Facebook

‘There’s no sequel for you’

Skeleton Crew is a 2009 Finnish horror film directed by Tero Molin and Tommi Lepola from a screenplay by Tero Molin and Teemu Molin. It stars Steve Porter, David Yoken and Anna Alkiomaa.

In the 1970s, a mental institution near the border of Russia and Finland was shut down when it was discovered that main administrator Doctor Andersson (who had taken to calling himself “The Auteur”) had filmed himself torturing patients to death. Most of the doctor’s films were confiscated, though the rooms in which they were developed and screened were never found.

Around thirty years later, the asylum is being used as the set of Silent Creek, a film based on the murders committed in it. While doing recordings, two soundmen hear disembodied voices, and find a hidden room. The chamber contains Andersson’s undiscovered work, and while the bulk of the cast and crew of Silent Crew are disgusted by the snuff films, they decide not to call the police, since doing so would shut down production.

Steven, the director of Silent Creek, becomes obsessed with Andersson’s films (which he is drawn to one night by an apparition) and begins acting deranged, claiming that Silent Creek is “not real enough”…

Reviews:

Crafted by two clear fans of the genre – novice writer/directors Tommi Lepola and Tero Molin – this attempted haunted hospital possession romp offers the appearance of a brash, bold scare statement. But as another old maxim reminds us, looks can be deceiving. In this case, what should have been suspenseful comes up dull and derivative, too obvious to be imaginative, too scattered to be unnerving.” Bill Gibron, DVD Talk

“It’s slow and plodding, and the actors that should carry us through such trying minutes fail at making us care about their characters, or the plot. The guy who played the director was just bad. The snuff/torture scenes were pretty good and tough to watch, but that’s about the only thing good about the entire movie.” The Horror Club

” …this is a generic, horrendously structured, and largely uninvolving slasher.” Brian W. Collins, Horror Movie a Day

“While it’s not a horrid film there’s simply nothing remotely original about it beyond it’s geographical origin. Cold Prey may have had a standard plot but it worked its arse off to squeeze every little bit of tension out of it. Skeleton Crew is just cheap and lazy, which is effectively worse than being crap but endearing.” Vegan Vorhees

Buy DVD: Amazon.com | Amazon.co.uk

Cast and characters:

• Rita Suomalainen as Lisa
• Steve Porter as Steven S./Sanders
• Anna Alkiomaa as Anna
• Jonathan Rankle as Darius K.
• Jani Lahtinen as Klasu
• Ville Arasalo as Erno
• David Yoken as Bruce
• Riikka Niemi as Mari
• John J. Lenick as Mike
• Ramo Kalupala as Pete
• Eija Koskimaa as Nurse 1
• Jukka Toivonen as Nurse 2
• Wiley Cousins as Jerry
• Markku Peltola as Doctor Andersson
• Karoliina Blackburn as Nurse in Snuff Films

Trivia:

In Germany, the film was re-released as Chainsaw Snuff Massacre and on DVD as Snuff Massacre – Skeleton Crew.

Wikipedia | IMDb | Official site

‘Scream all you want… no one believes it’s real’

Talon Falls is a 2017 American horror film written, edited, co-produced and directed by Joshua Shreve. Morgan Wiggins, Jordyn Rudolph, Brad Bell and Ryan Rudolph star.

Four teenagers on a road trip decide to take a detour and find themselves at a haunted house Halloween scream park deep in the woods of southern Kentucky.

After witnessing an assortment of torture and gore, they start wondering if what they are experiencing isn’t a little too realistic. Before they know it, each one of them is captured and made part of the horrific attraction they originally thought was all gruesome fun and games…

Talon Falls is released on DVD in the US by Lost Empire on October 13, 2017.

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‘Home is where the hate is’

Darkroom – aka Dark House – is a 2013 American horror thriller film produced and directed by Britt Napier from a screenplay by Michaelbrent Collings (Barricade). It stars Elisabeth Röhm, Kaylee DeFer and Geneva Carr.

Michelle takes a job recommended by her counselor that lands her trapped in a mansion with three psychotic siblings hell bent on purging Michelle of her sins…

Buy DVD: Amazon.co.uk

Reviews:

“Each of the performances were convincing enough, with DeFer and Röhm easily my favorites. I also liked the pacing in Darkroom, and was never left wanting for any action or something to happen. With very little investment on the part of the viewer, entertainment is assured with solid acting; interesting story; enough bloodshed and drilling to keep most horror fans happy.” Nav Qateel, Influx magazine

“So this movie perhaps may sound like a pretty decent, run of the mill, torture p*rn flick. And yes, you can say that 70% of this movie is torture p*rn, only problem however is that the movie hardly showing you anything. What’s the point of doing a movie like this if you’re not going to show anything?” Frank Veenstra, Boba_Fett1138

“The performances are competent, the writing is (mostly) solid, and it’s original, as horror movies go. Despite torture being a major plot point, the gore is fairly light and easy to stomach. The film is short (only an hour and eleven minutes before credits), but it doesn’t feel undeveloped.” Lois Kennedy, Addicted to Horror Movies

Buy DVD: Amazon.com

“Darkroom has a promising setup that degrades into disappointment with an “oh come on” implausibility. The back half of the screenplay needed to keep rolling with initial ideas about having something meaningful to say and a creative way to say it. Instead, Darkroom settles for a level of mediocrity that dooms it to be an unfortunate piece of flotsam floating in an already crowded sea.” Ian Sedensky, Culture Crypt

“Fans of thrillers and smaller horror features are encouraged to seek out a copy of this film, which uses mystery to draw you in and solid conflict to keep you enthralled. Twisted and tense, Darkroom will excite most fans of the genre. And, that excitement runs through much of the film.” Michael Allen, 28 Days Later Analysis

” …the execution (no pun intended) is just painful to watch. There was so many better ways to do this film instead of setting it up like Hostel and torturing them each in a dark room is just cliche. If they had done something like bring them to a mental breakdown from forcing them to see their horrible deeds then it would have been so much better.” Canticle Cinema House Movie Review

Main cast:

Elisabeth Röhm (Lake Placid: The Final Chapter; Ghost Image), Kaylee DeFer (Bones; Ghost Whisperer), Geneva Carr (Ava’s Possessions), Heléne Yorke, Christian Campbell, Natalie Knepp, Britne Oldford, Bess Rous, Tobias Segal, Steve Stanulis, Bonnie Bentley, Michael Sirow, Kristina Hess, Emily Fleischer, Natalie Wetta

IMDb

‘An eye for an eye… A tooth for a tooth… A foot for a foot…’

3 is a 2017 rape revenge horror thriller written, co-produced and directed by Lou Simon (All Girls Weekend; HazMat; The Awakened; Agoraphobia). It stars Todd Bruno, Mike Stanley and Aniela McGuinness.

A man and a woman kidnap the latter’s rapist in order to extract a confession, but how far will they be willing to go for justice?

IMDb | Facebook | Official website

Interview with writer-director Lou Simon

What inspires you as a filmmaker?

Being able to play with an audience’s emotions – from setting up expectations about what is going to happen, to twisting the story in another direction, to have them feel all the emotions of a scene (especially if that emotion is fear).

Where did the idea of 3 come from?

It started with a simple picture posted by Aniela McGuinness, who plays the role of She. Aniela had a double mastectomy after she was diagnosed with breast cancer. She proudly posted pictures of her scars on social media. It made me squirm, because I can’t imagine how hard it would be to lose the one thing that makes us most obviously women. As if cancer wasn’t dark enough, it reminded me of a rape/murder story where the woman’s nipples had been cut out. The rest of the story came to me in spurts over months.

Photo by Enrique Tubio

Why is telling this story so important to you?

Rape is a cancer in our society and the statistics are daunting. Nearly 1 in 5 women have been raped and as many as 321,500 victims (age 12 or older) of rape and sexual assault each year in the United States. And 1 out of every 10 rape victims is male. The emotional scars sexual assault leaves on its victims stay with them for a lifetime. There’s been a rise in cases where rapists have received a slap in the hand for committing rape, while the victims have been vilified for being “too sexual.” There had been laws put in place to protect rape victims from that type of persecution, but somehow, we seem to be taking steps back in the progress that had been made.

What was the most challenging part of making this film?

As always, the biggest challenge was the size of the budget and the limited days of filming.  To make a feature film in a couple of weeks is so hard. This script, in particular, had a lot of dialogue for the actors to memorize. I was also afraid that for 3 actors in one location, it would be slow and uninteresting. Hopefully, there are enough turns in the story to keep the audience engaged throughout.

What was the most unique situation you faced during production?

We were filming in an unfinished basement that looked a lot like a cave. One of the nights, it rained for hours out of nowhere.  It hadn’t been forecasted at all.  The next morning, the basement was flooded, along with a lot of our equipment.  The rain had also caused the outlets to trip the breakers, and the entire house lost power.  We lost half a day, bailing water out of the basement.

There was also the issue of the unfinished floor in the sunroom. When we went to look at the house during pre-production, the floor had been removed, but we were assured that it would be done the next week. Almost 2 months later, we arrive and the floor was still unfinished. We had to put a layer of plywood and then put furniture over that.  The floor was like a trampoline when you stepped on it, and where the plywood finished, there was a direct drop to the basement beneath the house – about 8 feet below. I held my breath for 2 days of filming that no one would fall through.

Talk about your method and/or any extraordinary or unusual aspects about your creative process.

What seems to shock people the most is my ability to write scripts in a very short time. I can usually write a script in about four days. 3 was probably the most unique experience yet in that I had not even written the script when we started pre-production.  In fact, I didn’t write the script until about a month and a half before principal photography.  It was all in my head, but I hadn’t sat down to write it yet. When I finally sat down to write it, in the back of my head I kept thinking “how about if I get writer’s block for the first time and now I have this film completely set up?” Thankfully, I wrote it in 3 days, so it all worked out.

“3 relies on the performance of three outstanding characters. Why did you cast these three actors in particular?

I had worked with Todd Bruno in my film, HazMat, and we always talked about working together again. In fact, he helped me produce 3. Aniela McGuinness had been in two of my previous films, and I had written the role of Annie in All Girls Weekend specifically for her, but then came her cancer diagnosis and she had to vow out of the project. I told her that I would write a new role for her one day once she was better, and I’m glad that it happened sooner than even we expected. She’s cancer free now, so this was a good way for her to come back to acting. Mike Stanley was actually the only person I hadn’t worked with before, but it turned out that he fit in perfectly with the rest of the cast and crew.  Most of us have worked together before so we’re like a family. We quickly adopted Mike, and for better or for worse, now he’s one of us.

You are a very prolific director with five features in five years under your belt. What is your recipe for productivity?

Every time I say that I’m going to take time off, my mind wanders off into another story and I start all over again. Creativity feeds our soul, so I’m sure that most filmmakers would do the same if they had the financial resources to do it. I was very lucky to be in a position in life where I could get investors for my first film.  When HazMat did well, I have been able to use that to get them to continue investing in future projects. I have a very good relationship with my investors, because they know how hard I’ll work for them and how I take my job very seriously. For me, this is a business, and I make decisions on what is best for the investors, not for my ego.

What’s next for you?

“3 will start the film festival circuit this year, and then we’ll starting international sales at AFM in November.

I am developing both a sci-fi script that my company will be filming at the end of the year, and I’m co-producing an action script with another company that will probably be in production next year. Both have a lot of suspense, so although I’m taking a break from horror, they’ll still share some elements with my previous films. I’m not stepping away from horror, just want to challenge myself to try other genres as well.

What are you still looking for?

I’m always looking for investors. All indie filmmakers should always be pitching. My main goal with 3 now is to take it to as many film festivals as possible. We got distribution so early on for the last 2 films that I didn’t submit to many festivals. This time, I’m going to take my time and enjoy it. There’s nothing more rewarding than to watch the film with an audience, and you only get that experience at film festivals.

IMDb | Facebook | Official website

‘Every dead thing has thoughts.’

Tempus Tormentum is a 2017 Canadian horror thriller film written and directed by James Rewucki (Aegri Somnia). The Absurd Machine Films production stars Tyhr Trubiak, Dr. Rage, Darren Johnston and Paul McWhinney.

Mr. Mouse (Tyhr Trubiak), an unlucky drifter happens to become the prey of three masked psychopaths.

The psychopaths are nicknamed Clown (Dr. Rage), Devil (Darren Johnston), and Slashmouth (Paul McWhinney). After drugging and abducting their victim, the trio use a combination of psychological and physical torture to drive Mr. Mouse mad, kill him, or both…

On April 17, 2018, Terror Films is releasing Tempus Tormentum in North American markets across multiple digital platforms such as: Amazon Prime Video, iTunes, Vudu, Google Play and XBox Live. This release will be followed by additional platforms and a DVD release, at a later date.

Reviews:

” …the line between reality and nightmare becomes fuzzier and fuzzier […] thanks to a suitably gritty directorial effort that manages to stay away from pure sensationalism, and a great central performance by Tyhr Trubiak, this concept comes to life at full impact.” Mike Haberfelner, Search My Trash

” …this film is not a part of a genre, it creates its own. This film has such a tension that it is hard not to get sucked in. This film also blurs several lines in reality and a atmosphere that we assume could be a nightmare or bad trip. This is David Lynch 2017, if he was heavily influenced by shrooms and vodka.” Wicked Channel

Release:

In 2017, the film was shown at festivals such as FEARnyc, Tampa Bay Underground Film Festival, Amarcord Chicago Arthouse Film Awards and the Hamilton Film Festival CA.

Tempus Tormentum on IMDb | Facebook | Official site

‘The monster has been awakened…’

Misfit is a 2016 American horror film written and directed by Todd Braley. The Infinity Media Productions movie stars Jennifer Gentile, Paul Sweeting and Frank Moore.

A young teenage girl is horribly picked on at school and at home. She is befriended by a homicidal killer who teaches her how to get even with her enemies by using torture…

In the USA, Misfit is released on DVD by Shami Media Group on August 14, 2018.

Reviews:

“Despite the subject matter this is quite tame really and spoilt by terrible acting throughout in combination with extremely poor production values.” Leofwine_draca

Filming locations:

Grand Junction, Colorado, USA

IMDb

The Thrill of a Kill is a 2011 Norwegian micro-budget splatter horror film produced written, photographed, edited and directed by Lars-Erik Lie on a budget equivalent to just $5,000.

Cast:

Kirsten Jakobsen, Arve Herman Tangen, Camilla Vestbø Losvik,  Toril Skansen.

Plot:

After fighting with her mom, Kimsy runs into the woods to cool off, where she meets a friendly photographer. A day of bloodshed and murder follows…

Reviews:

With The Thrill of a Kill, producer/writer/director Lars Erik Lie went all the way in order to make the goriest splatter film ever made in Norway, and additionally, he succeeded in making an entertaining horror film … minor glitches are easily overlooked as the story progresses and the blood squirts faster.” Nordic Fantasy

“The shots are kept tight with a strong range of believable performances by the women actors involved. It never needs to use too many fx as the ones that are captured on camera are shot in a way that make the scenes feel realistic without a large budget to work with.” HorrorNews.net

The film is released on DVD in the US on January 26, 2016, by Wild Eye Raw.

Trailer 1 (mature only):

Trailer 2 (mature only):

International trailer (mature only):

IMDb | Facebook

‘Women’s virtues made him a killer!’

The Virgin of Nuremberg is a 1963 Italian horror film directed by Antonio Margheriti (Castle of Blood; Killer Fish; Cannibal Apocalypse) [as Anthony Dawson] from a screenplay co-written with Edmond T. Gréville and Renato Vicario. The film’s brassy score is by Riz Ortolani (Mondo Cane; Cannibal Holocaust).

The film’s original Italian title is La vergine di Norimberga and it has also been released as The Castle of Terror (UK, by Compton Films) and Horror Castle (USA, by Zodiac Films). 

Main cast:

Rossana Podestà, Georges Rivière, Christopher Lee, Jim Dolen, Lucille St. Simon, Patrick Walton.

Production:

The Virgin of Nuremberg was based on an Italian paperback novel La vergine di Normberga, issue #23 in the KKK series of Italian pulp paperback novels. These novels were part of a trend of cheap paperback novels that blended Gothic, horror and erotic styles.

The film’s producer, Marco Vicario, was the co-founder of the company G.E.I. who published the KKK paperbacks. Margheriti changed elements of the plot of the story to include a war and surgery subplots. The film also removes some of the more extreme elements of the novel, such as a part where a man severs a woman’s nerve before pulling out almost all of the bones from her body.

Many sources state that giallo specialist Ernesto Gastaldi was credited as Gastad Green, but he has denied contributing to the film’s writing, stating he may have discussed plot elements with Margheriti, but did no actual writing. The official documents relating to the film’s production credit Marco Vicario’s brother Renato Vicario as Gastad Green.

Plot:

When Max Hunter leaves his American bride Mary alone in his German castle, a series of gruesome slayings occur in the abandoned torture chamber. In a shocking revelation, a hideous phantom killer, with a ghastly Nazi past, stalks the castle corridors and dusts off some of the tools of torture for some fresh bloodletting…

Buy: Amazon.com | Amazon.co.uk

Reviews:

” … a totally illogical script in which virtually every plot development hinges upon the heroine’s bottomless stupidity and complete lack of any sense of self-preservation!” Scott Ashlin, 1000 Misspent Hours and Counting

” … the film isn’t without its problems, which mainly reside in the script. The amazing, literary style quotes of so many classics are sorely missed here and the dialogue is merely average. The plot displays only one decent twist but it is ahead of its time in the way of being quick to the punch and this trait separates it from the vast pack of slower, story building gothic horrors.” Brett H., Oh, the Horror!

“As a director, Antonio Margheriti provides few of the subtle, wonderfully atmospheric moments present in his more successful Castle of Blood. Instead, Margheriti prefers to stun the audience with gratuitous gore and graphic tortures that disgust rather than frighten.” Lawrence McCallum, Italian Horror Films of the 1960s 

Buy Amazon.co.uk | Amazon.com

“It’s a stylish, atmospheric and effective gothic horror film…” Monster Minions

“The script and the dialogue are ludicrous, but the extraordinary cruelty of the film – like the rat cage placed over a woman’s face, with predictably terrifying consequences – soon chokes the temptation to laugh and the efficient special effects arranged by Margheriti himself makes for some impressive scenes.” The Aurum Film Encyclopedia: Horror

” … worth it, especially if you like cold violence, as Margheriti pushes the limits with his tortures” Danny Shipka, Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960-1980

“The ultimate explanation is so far-fetched that it borders on goofy, but if you can handle such things, the film might satisfy.” David Elroy Goldweber, Claws & Saucers

Cast and characters:

• Rossana Podestà: Mary Hunter
• Georges Rivière: Max Hunter
• Christopher Lee: Erich
• Jim Dolen: John Selby, FBI Agent
• Lucille St. Simon

Choice dialogue:

Max Hunter: “Was he a moralist? Or a maniac?”

Max Hunter: “The war left my spirit in a worse state than Erich’s face.”

Martha: “You shouldn’t trust strange Americans.”

The Punisher: “Instruments of torture are more or less the same, wherever you go!”

Offline reading:

Bizarre Sinema: Horror All’Italiana 1957 – 1979, Glittering Images, 1996

Buy: Amazon.com | Amazon.co.uk

Italian Gothic Horror Films, 1957 – 1969 by Roberto Curti

Buy: Amazon.co.uk | Amazon.com

Italian Horror by Jim Harper

Buy: Amazon.com | Amazon.co.uk

Italian Horror Film Directors by Louis Paul, McFarland, 2010

Buy: Amazon.co.uk | Amazon.com

Spaghetti Nightmares by Luca M. Palmerini, Gaetano Mistretta, Fantasma Books

Buy: Amazon.co.uk | Amazon.com

Italian trailer:

Wikipedia | IMDb | Image thanks: antoniomargheriti.com

Old 37 – aka Death Call – is a 2015 American horror film directed pseudonymously by “Alan Smithee” from a screenplay by Joe Landes and Paul Travers.

Main cast:

Kane Hodder, Bill Moseley, Catherine Blades, Brandi Cyrus, Jake Robinson, Sascha Knopf, Olivia Alexander, Robert Bogue, Caitlin Harris, Margaret Keane Williams, Kenneth Simmons, Angela Pietropinto, Rochelle Bostrom, Steven Hauck.

Plot:

After losing her father and best friend in less than a year, wallflower Amy decides she won’t watch life pass her by one more day. Taking cues from her flawlessly sexy neighbour Brooke, Amy attempts to flirt with her boyfriend, Jason.

Ever the mean girl, Brooke vindictively takes it upon herself to remind Amy just how insignificant she is in this world. With the help of her nurse mother, Amy goes under the knife. Now a dead ringer for Brooke, Amy makes her move on Jason.

Meanwhile, deep down the forgotten stretches of back road where the kids race their cars, two deranged brothers, Darryl and Jon Roy intercept 911 calls in their father’s beat up old ambulance to exact medical atrocities upon their unlucky victims.

When a careless car accident befalls Brooke and Jason, Amy gets caught in the fallout. Amy always wanted her neighbour’s life, but she may get her neighbour’s fate…

Reviews:

“From Moseley’s sarcastic one-liners (“It’s okay, I’m a paramedic“) to Hodder’s muted brutality, this film has got all its pieces in order to bring joy to those who crave horror star-power and true lovers of visceral amusement.” Matt Boiselle, Dread Central

“… blended perfectly to make up one awesome movie. The conflict within this film are endless, there is domestic violence, insanity, murder, revenge, betrayal, standard bitchy teenage behavior and so much more. What’s not to love?” Little Blog of Horror

Buy: Amazon.co.uk

“The film seems to suffer from an identity crisis – is it trying to be a slasher movie? Not really … There isn’t enough blood and gore or interesting kills for that. Is it trying to be a ‘Jaws on the highway’ type movie? Maybe. It really struggles to find a balance between all of the plot threads.” Martin Appleby, UK Horror Scene

“Sadly, the low budgetness of the flick comes through in certain areas, such as acting and story. The biggest crime against the flick, however, is the limited use of said horror icons Kane Hodder and Bill Moseley. They don’t do much for a good portion of the film and really only come into play at the end of the movie.” Matthew Tatlock, From the Mind of Tatlock

IMDb | Facebook | Official site

Martyrs is a 2015 American horror feature film directed by The Goetz Brothers (Scenic Route) from a screenplay by Mark L. Smith (Séance; Vacancy and its sequel; The Revenant) for The Safran Company.

The film is a remake of the 2008 French film of the same name directed by Pascal Laugier (0ne of our recommended must-see horror movies).

The movie stars Bailey Noble, Troian Bellisario, Kate Burton, Blake Robbins and Caitlin Carmichael.

Ten year-old Lucie flees from the isolated warehouse where she has been held prisoner. Deeply traumatized, she is plagued by awful night terrors at the orphanage that takes her in. Her only comfort comes from Anna, a girl her own age.

Nearly a decade later and still haunted by demons, Lucie finally tracks down the family that tortured her. As she and Anna move closer to the agonizing truth, they find themselves trapped in a nightmare – if they cannot escape, a martyr’s fate awaits them…

Buy DVD: Amazon.co.uk

Reviews:

“Mostly though, aside from creating a much tamer version, the 2015 Martyrs headed by the Goetz brothers feels too similar to the first film, bordering on a shot-for-shot remake that doesn’t really bring anything new or worthwhile to the table in order to justify its existence. Overall, this is a decent film, but it’s not much more than that.” Kalyn Corrigan, Bloody Disgusting

“Yes, hardcore fans of the original will find this to be watered down – given the demands of an American R-rating, it couldn’t not be. But taken as its own thing, it’s effective, tautly directed heroine-in-peril horror.” Luke Y. Thompson, The Robot’s Voice

“Casual horror fans whose tastes cannot stomach the first film’s extremeness may find this version easier to digest given its lessened emphasis on torture and increased mainstream marketability. Even hardcore devotees of Laugier’s film will find the Goetz Brothers’ intent laudable, and their changes at least warrant curiosity.” Culture Crypt

“In effect, the audience most likely to be receptive to this Martyrs is people who’ve not seen the original … who will at least get the bare bones of Laugier’s inventive story and some effective shocks.” The Kim Newman Website

Wikipedia

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click to enlarge

The Fall of the Damned – circa 1450 – is an oil on wood Christian religious-themed painting by Dieric Bouts, an Early Netherlandish artist.

The painting depicts the torture of the damned by demons in the afterlife for sins they committed on Earth, and as such, was a common theme in Medieval Europe when religion was used by the Church and Royalty to scare the largely ignorant populace.

Hieronymus Bosch painted similar, more infamous depictions of Hell in his The Garden of Earthy Delights triptych.

The painting is currently on show to the public at the Palais des Beaux-Arts de Lille.

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‘A macabre masterpiece of terror!’

The Raven is a 1963 American comedy horror film produced and directed by Roger Corman. The film stars Vincent Price, Peter Lorre, and Boris Karloff as a trio of rival sorcerers. The playful, lively score is by Les Baxter.

The film was the fifth in the so-called Corman-Poe cycle of eight films largely featuring adaptations of Edgar Allan Poe stories produced by Roger Corman and released by American International Pictures (AIP). It was written by Richard Matheson, based on references to Poe’s poem “The Raven“. The supporting cast includes Hazel Court and a young Jack Nicholson.

Roger Corman and Richard Matheson had both enjoyed making The Black Cat comic episode of Tales of Terror and wanted to try an entirely comic Poe feature. “After I heard they wanted to make a movie out of a poem, I felt that was an utter joke, so comedy was really the only way to go with it,” said Matheson.

A novelisation of the film was written by Eunice Sudak (who also wrote the Tales of Terror and X novelisations) adapted from Matheson’s screenplay and published by Lancer Books in paperback. This novel was republished by Bear Manor Media in 2012.

On March 9, 2015, Arrow Video is releasing The Raven on Blu-ray in the UK. Special features include:

• High Definition Blu-ray (1080p) presentation of the feature, transferred from original film elements by MGM
• Original uncompressed Mono PCM Audio
• Optional English subtitles for the deaf and hard of hearing
• Peter Lorre: The Double Face, Harun Farocki’s 1984 documentary
• Richard Matheson: Storyteller, an interview with the legendary novelist and screenwriter
• Corman’s Comedy of Poe, an interview with Roger Corman about making The Raven
• The Trick, a short film about rival magicians by Rob Green (The Bunker)
• Promotional Record
• Stills and Poster Gallery
• Original Theatrical Trailer
• Reversible sleeve with original and newly commissioned artwork by Vladimir Zimakov
• Collector’s booklet featuring new writing by Vic Pratt and Rob Green, illustrated with original stills and artwork

Buy The Raven on Blu-ray from Amazon.co.uk

Plot teaser:

In the 15th century, the sorcerer Dr. Erasmus Craven (Vincent Price) has been mourning the death of his wife Lenore (Hazel Court) for over two years, much to the chagrin of his daughter Estelle (Olive Sturgess). One night he is visited by a raven, who happens to be a transformed wizard, Dr. Bedlo (Peter Lorre). Together they brew a strange potion that restores Bedlo to his old self.

Bedlo explains he had been transformed by the evil Dr. Scarabus (Boris Karloff) in an unfair duel, and both decide to see Scarabus, Bedlo to exact revenge and Craven to look for his wife’s ghost, which Bedlo reportedly saw at Scarabus’ castle. After fighting off the attack of Craven’s coachman, who apparently acted under the influence of Scarabus, they set out to the castle, joined by Craven’s daughter Estelle and Bedlo’s son Rexford (Jack Nicholson).

At the castle, Scarabus greets his guests with false friendship, and Bedlo is apparently killed as he conjures a storm in a last act of defiance against his nemesis. At night, Rexford finds him alive and well, hiding in the castle. Craven, meanwhile, is visited and tormented by Lenore, who is revealed to be alive and well too, having faked her death two years before to move away with Scarabus. As Craven, Estelle, Rexford and Bedlo try to escape the castle, Scarabus stops them, and they are tied and locked up. Bedlo panics and flees away in raven form, having convinced Scarabus to turn him back into bird form rather than face torture…

Reviews:

“The whole thing is played very tongue in cheek and is mostly about having fun not being terrified. The final battle between Karloff and Price is really entertaining and fun to watch; it is very reminiscent of the wizard’s duel in The Sword in the Stone released the same year. The special effects are dated but actually, considering the year and the budget, very effective and fun.” 31 Days of Terror

“It’s really a shame, given the high caliber of what has preceded it, that the climactic duel of magic is both so incredibly long and so incredibly lame. Ending a movie with a huge special effects set-piece is always a risky proposition, but it becomes a sure-fire formula for outright disaster when there’s no money in a movie’s budget for special effects! Up to this point, The Raven has been a comfortably low-key movie, driven by acerbic wit, careful characterization, and brilliant casting.” 1000 Misspent Hours and Counting

“It’s miles from Poe, but it’s one of the funniest and most enjoyable horror spoofs ever made, with a witty script and smart direction; the three principals’ enjoyment of the whole affair communicates itself to the audience. A delight, with a wooden performance by Nicholson for connoisseurs of the bizarre to savour.” Alan Frank, The Horror Film Handbook

“A snappy little parody of a horror picture cutely calculated to make the children scream with terror while their parents scream with glee.” Time (1963)

Choice dialogue:

The Raven (Peter Lorre): “Will you give me some wine!”

Cast:

• Vincent Price as Dr. Erasmus Craven
• Peter Lorre as Dr. Adolphus Bedlo
• Boris Karloff as Dr. Scarabus
• Hazel Court as Lenore Craven
• Olive Sturgess as Estelle Craven
• Jack Nicholson as Rexford Bedlo
• Connie Wallace as Maid
• William Baskin as Grimes
• Aaron Saxon as Gort
• Dick Johnstone as Roderick Craven (uncredited)
• Mark Sheeler

Wikipedia | IMDb

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An iron maiden is a presumed, though likely fictional, torture device, consisting of an iron cabinet with a hinged front and spike-covered interior, sufficiently tall to enclose a human being.

The iron maiden is often associated with the middle ages. However, no account has been found earlier than 1793, although medieval torture devices were catalogued and reproduced during the 19th century.

Wolfgang Schild, a professor of criminal law, criminal law history, and philosophy of law at the University of Bielefeld, has argued that supposed iron maidens were pieced together from artifacts found in museums to create spectacular objects intended for (commercial) exhibition. Several 19th-century iron maidens are on display in museums around the world, including the San Diego Museum of Man, the Meiji University Museum, and multiple torture museums in Europe. It is unlikely that any of these iron maidens were ever employed as instruments of torture.

The original 17th century iron maidens may have been constructed as probable misinterpretation of a medieval Schandmantel (“coat of shame” or “barrel of shame”), which was made of wood and metal but without spikes. 

The most famous iron maiden that popularised the design was that of Nuremberg, first displayed possibly as far back as 1802. Historians have ascertained that Johann Philipp Siebenkees created the history of it as a hoax in 1793. The original was lost in the Allied bombing of Nuremberg in 1944. A copy “from the Royal Castle of Nuremberg”, crafted for public display, was sold to the Earl of Shrewsbury in 1890 along with other torture devices. This copy was auctioned in the early 1960s and is now on display at the Medieval Crime Museum, Rothenburg ob der Tauber.

The British heavy metal band Iron Maiden was named after the torture device.

Wikipedia

The post Iron maiden – torture device appeared first on HORRORPEDIA.

End of Term is a 2018 British horror feature film about torture in art directed by Mark Murphy (Awaiting; The Crypt) from a screenplay by John Paul Chapple (Bathory: Countess of Blood – additional script material). The movie stars Ronald Pickup, Ben Lamb, Nicola Posener and Peter Davison.

History is repeating itself at the Ford Barrington Art School. A group of students are tormented by the lingering menace of Garth Stroman (Ivan Kaye), an artist who had a disturbing vision fifty years prior.

The pupils discover that true art can only be achieved through suffering and pain. With graduation fast approaching their celebrations turn into a twisted confrontation with medieval torture – all in the name of art…

Cast and characters:

• Ronald Pickup … Damian Self – Young Dracula TV series; Dark Floors; Jekyll & Hyde (1990); The Hound of the Baskervilles (1988); Doctor Who (1964)
• Ben Lamb … Scott
• Nicola Posener… Ashley – The Sleeping Room;
• Peter Davison … Leigh – Doctor Who (1981 – 1984)
• Julie Graham … Detective Sergeant Stacy Harcourt
• David Bamber … Detective Inspector Jim Burman
• Ivan Kaye … Garth Stroman – Dark Shadows
• Josh Taylor … Andy
• Chelsea Edge … Melissa
• Darcy Isa … Lizzie
• Emily Reid … Eva
• Faye Ormston … Art Class Student
• Adam Paul Harvey … Biddleton
• Ryan Whittle … Brandon
• Tom Richards … Burgess

Production companies:

GCB Films/Goldfinch Studios/Premiere Picture/Solar Productions

Filming locations:

Yorkshire, England

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Horror movies featuring artists:

Art of the Dead – USA, 2018

Muse – USA, 2017

Crucible of Terror – UK, 1971

Cauldron of Blood aka Blind Man’s Bluff – Spain, 1967

Color Me Blood Red – USA, 1964

A Bucket of Blood – USA, 1959

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The Coll3tor aka The Collector 3 will be the third in the series of Marcus Dunstan‘s torture-ridden horror movies.

Josh Stewart (Discarnate; The Neighbor; Cold Moon), who starred in both The Collector and the The Collection, tweeted the poster for the new movie with the caption: “Lock the door.” We are assuming that Marcus Dunstan’s usual co-writer Patrick Melton (Scary Stories to Tell in the Dark; Piranha 3DD; Feast) will be on board too.

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The post The Coll3tor aka The Collector 3 has been announced appeared first on HORRORPEDIA.

The Coll3tor aka The Collector 3 will be the third in the series of Marcus Dunstan‘s torture-ridden horror movies. Josh Stewart (Discarnate; The Neighbor; Cold Moon), who starred in both The Collector and the The Collection, tweeted the poster for the new movie with the caption: “Lock the door.” We are assuming that Marcus Dunstan’s usual co-writer Patrick Melton (Scary...

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