Even More Horror Reviews

Starring: Malcolm McDowell, Tyler Mane, Sheri Moon Zombie, Brad Dourif.   

Directed by Rob Zombie   Entertainment in Video

February 2010

This film follows directly on from director Rob Zombie's modern interpretation of John Carpenter's original 1978 classic.

Laurie Strode has killed Michael Myers, or so she and everybody else believes. She is suffering increasingly stressful nightmares, and begins to reason that he might be still alive after all. With good reason, it materialises. Meanwhile, Dr Sam Loomis has authored a book focusing on his years of study on the Myers case. However, his bid for fame and fortune are seldom taken seriously now that Michael is no longer around. But the masked killer is in fact still at large, and after a shocking revelation turns her world upside down, Laurie Strode finds fate driving her towards an inevitable confrontation.

My all time favourite film (or at least taking pride of place in the top three) is John Carpenter's Halloween. For too many reasons, I just love it. I could bore people to death with my background knowledge of its construction. It's been referred to as the granddaddy of slasher movies, but it's so much more. Consequentially, it goes without saying that any remakes are going to be soundly condemned as a mere shadow of what went before. But I'm nothing if not open-minded. I looked on this as a sort of Halloween the Next Generation (although the central character names remain the same). As a result I noticed a number of differences.

The most significant (and for me, disappointing) difference is the violence. Yes, Michael Myers is a cold psychotic killer, but here we actually see him frenetically stab people at least a dozen times, and also see him manhandle individuals in a manner much more suited to Jason Voorhees of the Friday the 13th films. Carpenter's original is much more stylish in that most of the violence is implied rather than closely seen. It is much more about building suspense, anxiety and tension with thoughtful camera work, lighting and incidental music. Carpenter's Myers remains stiffly upright and silent at all times, whereas Zombie's remake has him shuffling along like a delinquent, breathing loudly and even growling with rage. It doesn't have the same effect, because silent and faceless is much more creepy. There is a concession in that Carpenter's classic theme tune is emulated; however, even this is nonsensically beefed-up into a techno beat.

Malcolm McDowell and Brad (Chucky) Dourif play their parts well, as you would expect, but I have to ask the question, why does Laurie emerge from the shack with Michael's mask on, when she was likely to be cut down in a hail of police bullets? And what on earth is all that nonsense with the mother and the white horse all about? It's quite pretentious to attempt a Freudian motive. I can appreciate Rob Zombie's attempt to introduce different elements into the balance, but we all know the best ideas are the simple ones. After all, Carpenter only introduced the fact that Laurie Strode is really Michael's sister in the original Halloween II because he had to come up with a scenario pretty quickly to justify the masked killer following Laurie to the hospital. Even now he doesn't like the idea, and admits he only wrote the sequel for the money.

All of this will lead you to conclude that I hate this movie. That's not true. Zombie's Halloween remake made $80 million, and there's no reason why this shouldn't be a success too. It's been made for a modern audience more used to content over style so, coming full circle, that's the main difference. Many young people will not be aware of the original (hopefully, I've changed that fact!). By all means, add this to your DVD collection - it's not a bad film - but while you're out you might just pick up a little film from 1978 which started a trend.

Verdict: 6 out of 10

(Review written by Ty Power for reviewgraveyard 2010)

Starring:  Aaron Stanford, Emilie de Ravin, Ted Levine.    

Directed by Alexandre Aja  

Twentieth Century Fox Home Entertainment 

June 2006

The Carter couple are celebrating their 25th wedding anniversary with a drive across the California desert, towing a trailer home. Their family is dragged along, unwillingly, for the ride: a daughter, her pacifist husband and their baby; and a slightly younger son and daughter. When they reach the desert of New Mexico (actually filmed in Morocco) a gas station owner purposefully misdirects them into the hills. After an accident which wrecks the car, caused by an unseen stinger (spikes normally used by the police to bring a vehicle to a halt), they are effectively stranded. The father takes the long walk back to the gas station and into trouble, while the son-in-law heads in the opposite direction looking for civilisation, only to find a crater containing dozens of vehicles. The others are attacked by violent flesh-eating mutants. When the son-in-law returns to find his wife dead and his baby taken, the younger son and daughter are left to fend for themselves while the pacifist goes on the offensive to get back his offspring...

This is an updated remake of Wes Craven's 1976 original film. In fact, he and his cohort Peter Locke are producers on this movie. The rights were offered to the French director Alexandre Aja, who made the excellent slasher movie Switchblade Romance (also known as Haute Tension), and co-writer Gregory Levasseur. They both remembered the original with affection, but made it plain the horror hadn't stood the test of time and therefore had to be updated for a new audience.

Several changes were made, the greatest being the addition of the mutant family background. In this version a New Mexico mining town is evacuated by the government for the purposes of atomic testing. The family refuses to be driven away and disappears into the hills. The twisted psychopaths encountered by the holidaymakers are the radiation-mutated offspring of that family. This somewhat hackneyed idea produces two great plot points. Firstly, it's infinitely more edgy to have a major scene take place in a long-abandoned small town than the bland backdrop of the desert. In fact, as the central character walks through the town searching for his baby, the filming techniques momentarily turn it into a western, with unseen third-party points of view through the windows from several buildings.

The second, more important point is that the mutants are in effect victims too. Victims of a cold war society, perhaps; but while it could be argued that the original mining family chose its own fate, the subsequent spawned generations did not. They have had to fend for themselves and that means all their provisions - including food - have come from hapless travellers. As it's pretty difficult to feel sympathy for a bunch of hideous cannibal abominations, the writers have been shrewd enough here to include a less ugly mutant girl who is very protective of the baby (a maternal instinct, even), causing inevitable conflict among the others.

All said and done, this is a powerful film about survival. The horror is at times brutal and visceral (no more so than the average Jason or Chucky film), but it is all conducive to the plot, and the sight of blood is surprisingly scarce. It's left ambiguous as to whether or not Emilie De Ravin's (Lost) Brenda Carter character is raped. It's more implied than seen, but in one respect is the ugliest moment. However, as the film seems to forget all about this, perhaps I was wrong. I'm just grateful we didn't get a "Nine Months Later" epilogue of a mutant baby birth, otherwise this decent horror flick would have degenerated into an It's Alive prequel.I look forward to Alexandre Aja's next project.

Extras on this single disc include: a commentary with writer/director Alexandre Aja, writer/art director Gregory Levasseur and producer Marianne Maddalena; a second commentary with main producers Wes Craven and Peter Locke; Surviving the Hills, an informative Making of... documentary; music video Leave the Broken Hearts by The Finalist; and far too many trailers for other films.

Verdict: 8 out of 10

(Review written by Ty Power for reviewgraveyard 2006)

Starring: Jessica Stroup, Michael McMillian, Daniella Alonso and Lee Thompson Young.    

Directed Martin Weisz  

Twentieth Century Fox Home Entertainment 

July 2007

A group of national Guard rookies, led by an experienced sergeant, have the job of dropping off supplies in an area of the Nevada Desert which is to be used as an army training centre. Years before the site had been used for atomic testing. Surveillance equipment was recently in the process of being installed, but when the National Guard arrives the camp appears to be deserted. When a mirror signal is spotted high up on the rocks the sergeant organises a search and rescue mission. However, when one of the female rookies is taken, the others are forced to follow her trail into mines containing violent, mutated human cannibals...

In this sequel to the 2006 Alexandre Aja remake of the Wes Craven original 1970s horror The Hills Have Eyes, the production has opted for the Aliens army assault angle. In this case, aside from the sergeant who is quickly dispatched (ironically, by one of his own number), the entire squad consists of rookies. In this manner it reverts to the overused characterisations prevalent in most horror films.

The rules set up in the classic Halloween and spoofed in Scary Movie are still being utilised here with little or no variation in the structure. So, effectively, we have anyone with any self-confidence being killed first, the more naive individuals surviving longest (I even guessed which ones), and even someone becoming hysterical before triggering a booby trap. And of course we all know that "I really think we're going to make it through this after all" is just a horror movie translation of "I'm going to be the next one to die."

Martin Weisz - at least at this point - is more known for directing commercials and music videos, and so has little or no real experience in movies. Of course, everyone has to start someone, but this more than evident. Make no mistake, this is horror by numbers. The entire plot consists of the rookie soldiers following one of their number into the mines, and then trying to make it out again alive.

Having said all that, it is eminently watchable, if a little needlessly predictable. The mutants are fewer in number this time and are less interesting, with no family structure. This sequel lacks the originality and more varied locations of its predecessors. Wes Craven's experience of writing and production fails to materialise as totally satisfying direction in someone else's hands. Sometimes it's not the strength of the story, it's how it's portrayed on the screen. The nuances are missing.

There are some nice special features here which gain this release an extra point: Mutant Attacks featurette; Birth of a Graphic Novel; Life After Film School with Wes Craven; The Making of The Hills Have Eyes 2; Gag Reel; and Deleted Scenes. But where is the by now expected commentary?

Verdict: 6 out of 10

(Review written by Ty Power for reviewgraveyard 2007 - Updated 2026)

Starring: Ray Wise, Lin Shaye, Mick Cain, Alexandra Holden, William Rosenfeld.    

Directed by Fabrice Canepa, Jean Baptiste Andrea 

Pathe 

May 2004

Frank Harrington is driving his wife Laura, son Richard, daughter Marion and her boyfriend Brad Miller to the in-laws for the Christmas holidays. Whilst normally taking the interstate, when the others fall asleep, he this time decides to take a smaller road which extends through woods. After a near accident when Frank falls asleep himself at the wheel, they spot a woman in white at the edge of the trees. She carries a wrapped baby and appears to be in shock. They pick her up and take her back to a cabin they passed, hoping to find a phone. There is no phone, and Brad discovers that the baby is dead and decomposing. Shortly afterward Marion sees a black car drive past with Brad trapped in the back. The others give chase in their car, only to find Brad's mutilated body on the road. This begins a nightmare series of events which involve the whole family as they try to reach the unknown town of Marcott...

Dead End is written and directed by the French partnership of Jean -Baptiste Andrea and Fabrice Canepa. Attempting to pitch their screenplay to French film companies, they were told that this genre isn't generally preferred, and that the vast majority of output is naturally in the French language, whereas the duo were determined to have it made in English to be accessible to a wider audience.

As with many pairings, we have the talkative one and the quieter thoughtful counterpart. Whether my assessment of them is correct or not, it appears to have worked well here. With low budget or intended claustrophobic scenes the acting has to be spot on, because there are no other distractions. The actors which comprise the family work well together. Ray Wise is quite a casting catch, and the other mainstays come across as being genuine. They laugh one moment, bicker the next, are terrified, contemplative, melancholy, angry... Just like normal people. This is good acting, with the tension steadily building.

This is a good original take on the other-dimension scenario, which reminded me of the scene in John Carpenter's In The Mouth Of Madness when Sam Neil's insurance investigator is driving through a short tunnel and emerges from night into daylight. It's that Twilight Zone moment. It has a number of really spooky set-pieces. Without giving the ending away, I will just say that Dead End neatly avoids the normal stereotypical trappings, and although some people who regularly watch this genre might guess the ending, it isn't blatantly obvious. The mini-twist right at the end, however, is totally unnecessary.

There is a making-of documentary on the extras, as well as some trailers, but a commentary (usually interesting from writer/directors) is strangely missing. But for those not too worried about special features, this is a great spooky suspense thriller.

Curiously, I have only ever seen a DVD version of this film. It would be nice to see an HD Blu-ray release, with a list of extras incorporating commentaries and behind-the-scenes documentaries. This is one of those unsung horror movies which really deserves more recognition.

Verdict: 8 out of 10

(Review written by Ty Power for reviewgraveyard 2004 - Updated 2026)

Starring: Dee Wallace, Michael Berryman, Martin Speer, Robert Houston, James Whitworth.    

Directed by Wes Craven

Arrow Video 

March 2022

The Carter family - comprising Big Bob and Ethel, their elder daughter Lynne and her husband Doug and baby, and their teenage children Brenda and Bobby - are cutting through a remote desert road on their way to California, when their car and towed camper van runs off the road, stranding them in the middle of nowhere. Big Bob journeys back to the isolated gas station they had stopped at, only to find that the old critter has been killed. Bobby goes in the other direction with his German Shepherd dogs, Beauty and The Beast, only for Beauty to be killed and The Beast to go missing. This is the start of a living nightmare the family could never have imagined, as they are beset by a band of savage, feral cannibals. When the baby is taken it becomes not only a battle for survival but a desperate venture into enemy territory to save the child at all costs.

This is a story of desperation, ingenuity and survival. It is very well mapped-out, but had very humble beginnings. Horror maestro Wes Craven had only made one previous film, the notorious The Last House on the Left. Whilst pondering his next project, it was suggested that he write a film script set in the desert, to avoid studio set and location costs. He had no idea at the time of the intense heat during the day and the extreme cold at night.

He assembled a great cast; most notably Dee Wallace and Michael Berryman. This was Dee's only second appearance on screen, but she would go on to be a welcome and recognisable figure in a host of horror and sci-fi films, such as E.T. - The Extraterrestrial, Cujo, The Howling, Critters, The Frighteners, and many more. Michael Berryman is forever grateful for this opportunity to step into the world of horror. He is a favourite at convention appearances and signings and reportedly one of the nicest people you could meet. Quite converse to the cannibal character he portrays. Craven, of course, would go on to become even more famous for his films, A Nightmare on Elm Street, and Scream - as well as many others. Having sadly passed away in 2015, Wes Craven leaves a legacy of groundbreaking films and TV. I still believe that this film is one of his very best.

The characters are sympathetic and believable and, as animal lovers, we definitely route for The Beast, who has his own agenda to protect the family - and is very well trained. Check out the extras, too; particularly Looking Back on The Hills have Eyes, which is suitably lengthy, and covers the entire project from start to finish, pieced together from reminiscences of cast and crew.

Extras Include: Audio commentary with actors Michael Berryman, Janus Blythe, Susan Lanier and Martin Speer; Audio commentary by academic Mikel J. Koven; Audio commentary with Wes Craven and Peter Locke; Looking Back on The Hills Have Eyes – making-of documentary featuring interviews with Craven, Locke, actors Michael Berryman, Janus Blythe, Robert Houston, Susan Lanier, Dee Wallace and director of photography Eric Saarinen; Family Business – an interview with actor Martin Speer; The Desert Sessions – an interview with composer Don Peake; Outtakes; Alternate ending; Trailers and TV Spots; Image gallery; Original screenplay; Reversible sleeve featuring original and newly commissioned artwork by Paul Shipper.

Verdict: 9 out of 10

Original review by Ty Power 2026

Starring: Linda Blair, Peter Barton, Denise Dunsmore, Kevin Brophy, Jimmy Sturtevant.    

Directed by Tom DeSimone

101 Films 

July 2021

As an initiation rite into Alpha Sigma Rho fraternity, four pledges must spend a night in Garth Manor, twelve years to the day after the previous resident murdered his entire family. Two of the pledges, Marti and Jeff ignore the rumors that the now-deserted mansion is haunted by a crazed killer, until one by one, members of their group mysteriously disappear. Could this be a part of a fraternity prank ... or is a demented former tenant seeking revenge? When this seemingly innocent night turns deadly, these college students will do anything to survive Hell Night.

This is a surprisingly well-made horror flick, considering it was created on a restricted budget and arrived on the tails of masters like John Carpenter's Halloween and Sean S. Cunningham's Friday the 13th. Director Tom DeSimone was known mainly for comedy, horror and exploitation films. Producer/distributor Irwin Yablans was looking for another success after the aforementioned Halloween, and so a great deal of time and trouble was taken to given this film an impression. The lovely old house was used for the exteriors only, the interiors taking place at an entirely different location, and creepy passages under the house being studio sets. The most striking thing about the film is undoubtedly the lighting. It's beautifully lit using a multitude of candles, which create an abundance of atmosphere, whilst having a valid reason for their presence in what, to all intents and purposes, is supposed to be an abandoned house. In reality, Director of Photography Mac Ahlberg deserves plaudits for making the shots look so striking, but in the context of the plot it's been done by some of the fraternity in order to set up fake scares to scare the wits out of the four pledges.

The film opens with all the students partying outside and then inside the fraternity. They are all in fancy dress. Then they all jump into cars and travel to the 'abandoned' gothic house. A supposedly true story is told about a husband and wife who have a grotesque deformed child that dies. When they try again, this one survives but kills the family. Even though a number of years have passed it is thought that the unseen monster still lives in the huge house. After the two couples are locked into the grounds to spend the night, they are pranked by two or three students who have set up speakers and other equipment to produce ghostly sounds and visions. But when they discover their bodies they are plunged into a real nightmare with little chance of escape.

Marti Gaines and Jeff Reed are the main characters, played by Linda Blair (most famously known for playing Regan the possessed girl in The Exorcist) and Peter Barton (who was in Friday the 13th: The Final Chapter, as well as various American TV soaps). Their period-style fancy dress fits perfectly into the style of the house, so that at times the film resembles a Hammer horror.

It's a fun ride, well-structured, with gorgeous settings, jump scares, a twist and an inventive kill at the end. Add this one to your collection, you won't be sorry.

This Limited Edition set includes a hard slipcase, and a colour booklet incorporating the essays: The Scare Blair Bunch: Hell Night; Linda Blair and the Rise of the American Sorority Slasher by Andrew Graves, and Haunted Houses on Film by Barry Forshaw. The extras are great, exploring in detail each aspect of the movie, with lengthy features and interviews.

Extras Include: Transfer from a 4K scan of the best surviving archival 35mm film print with minor SD inserts to replace missing footage; Linda Blair: The Beauty of Horror; Hell Nights with Tom DeSimone; Peter Barton: Facing Fear; Producing Hell with Bruce Cohn Curtis; Writing Hell with Randy Feldman; Vincent Van Patten and Suki Goodwin in conversation; Kevin Brophy and Jenny Neumann in conversation; Gothic Design in Hell Night; Anatomy of the Death Scenes; On Location at Kimberly Crest; Theatrical Trailer; TV Spots; Radio Spot; Photo Gallery.

Verdict: 9 out of 10

Original review by Ty Power 2026

Starring: Barbara Shelley, Donald Wolfit, Henry Cass, Vincent Ball.    

Directed by Henry Cass

Nuceus Films 

June 2022

John Pierre is wrongly sentenced in court to a penal colony, due to held-up evidence which would have exonerated him from the crime. Instead, he is transported by coach and horses to a castle prison run by the infamous Dr Callistratus. Thrown into a cell, he is informed by the inmate about the cruel governor and his wicked secret experiments. As a doctor himself, Pierre is instructed to help in a basement laboratory. At first, he is intrigued to take part identifying blood groups for the benefit of mankind; that is until he discovers that Callistratus is draining all of the blood from prisoners in an attempt to save his own life - as his blood cells have been attacking each other since he was revived from death with a stolen heart.

Pierre's court appeal has supposedly been rejected, but Madeleine, his betrothed, knows that the witness evidence in a letter has been suppressed. Pierre is a free man but doesn't know it. Madeleine tries to infiltrate the facility posing as Callistratus's new housemaid, but places herself in dire peril. Pierre is obliged to go on the offensive in order to not only escape an inescapable prison, but to save the life of his wife-to-be.

This is Tempean Films' attempt to emulate a lavish Hammer horror film, after the (at that time) recent huge success of the latter's The Curse of Frankenstein in 1957. Then, when Hammer released Dracula shortly before this film hit the cinema, they even cashed-in on Hammer's success by displaying the tagline 'He begins where Dracula left off' on their film posters. They turned to Jimmy Sangster, who not only had penned their recent excellent sci-fi horror The Trollenberg Terror, but Hammer's Curse... and Dracula. In fact, Sangster became the go-to guy for Hammer and, invariably, turned in solid work. Director Henry Cass also chose the route of filming in colour, when it was still an expensive venture.

The main villain was played by the well-known and striking figure of Donald Wolfit, who had recently been knighted. Barbara Shelley was the ultimate thriller/horror heroine or fem fatale in such classics as Village of the Damned, Cat Girl, Ghost Story, Quatermass & the Pit, Dracula Prince of Darkness and others. The courtroom judge you may recognise as John Le Mesurier from Dad's Army. Bernard Bresslaw of the Carry On... films gets his lights punched-out here by Pierre. Victor Maddern ably plays the disfigured manservant Carl. Sangster would write several variations on this figure - no doubt, riffing on Fritz/Igor from the original Universal Frankenstein.

Director Cass suffered severe problems with the censors. Every scene which suggested violence, blood or sex was stamped on - even though they really aren't that bad by today's standards. The joy is that in each country they han different ideas about censorship, so that all the 'trouble' scenes have been restored so we are able to view the film as originally intended.

There is beautiful artwork for the US release, but it is highly misleading. If you are wondering where the vampire comes in, Callistratus isn't a vampire in the generally accepted movie sense. As the movie opens, he is thought by the locals to be a real vampire and staked through the heart. He is dug up by Carl and given a new heart - the consequence being that his blood is rejecting it and he needs constant transfusions.

All-in-all, this is an enjoyable film with some interesting extras - particularly, the archive commentary by Jimmy Sangster, and 'He Begins Where Dracula Left Off' (45 minute featurette with horror historian Jonathan Rigby).

Extras Include: Newly Restored 1.66:1 Transfer of the Original Uncensored Version from Original Vault Materials; Audio Commentary with English Gothic Author Jonathan Rigby; Archival Audio Commentary with writer Jimmy Sangster, producer Robert S. Baker and Hammer Story Author Marcus Hearn; He Begins Where Dracula Left Off – New In-Depth Featurette with English Gothic Author Jonathan Rigby (45 mins); The BBFC and Blood for Dracula – New Featurette examines original BBFC archive sensor notes; Original Theatrical Trailer; Barbara Shelley Trailer Reel (28 mins); French and Italian Credits; Extensive Image Gallery;1964 Malia Italian Fotoromanzo.

Verdict: 8 out of 10

Original review by Ty Power 2026

Starring: Gaylen Ross, Tony Nunziata, Harriet Bass, Seth Jones, Paul Ehlers.    

Directed by Joe Giannone
Arrow Video

March 2025

In the woods, the camp elders are telling ghost stories to a group of campers around a fire. It culminates in a story about Mad Marz, a bad-tempered man who goes crazy one day and kills his wife and children with an axe. He is caught and hung from a tree, but his body has gone by the next day. It is said that he is still out there, and if you say his name above a whisper he will come to wreak terror and death. Of course, one of the young adult campers verbally ridicules the story by shouting out the name Mad Marz, inviting the madman to come and get him. When they return to their camp of wooden chalets, the ridiculer spots something in the woods and wanders off to investigate - unbeknown to the others. When he fails to return one of the campers goes looking for him, only to meet a gruesome end at the hands of Marz and his axe. Thus begins a night of stark horror and inventive death...

This is an odd one. To all intents and purposes, it's a kill-by-numbers which emerged in the slasher heyday of the late seventies and early eighties. As a low budget affair with minor distribution, it suffers against its better contemporaries such as Halloween, Friday the 13th and A Nightmare on Elm Street. Of course, if truth be told, those films have more depth than this one and so deserve their status. In this one, the victims enter Marz's territory whilst searching for their missing colleagues, and it's only when a character seeks to run back to perceived safety at the camp that our resident killer arrives at the camp.

Okay, it's not the best slasher out there, but it has built up a cult following in America. This is not without reason, as it has a number of aspects going for it. One is the early shock quick image of Madman Marz in a tree; another is the range of inventive kills - including the car decapitation; and a third is the catchy theme tune song which, once heard, is hard to forget. The characters are okay, considering they are pretty much cannon fodder, and it's ironic that the one person who invokes the killer by calling his name spends the vast majority of the film wandering lost in the woods until he stubbles across Marz's old house.

I would suggest picking-up a Blu-ray version of this film, as the 4K visuals are far from stunning. It's possibly because this is a total night shoot but, if you compare it with most 4K releases, it's disappointing.

I was drawn into the film's fan culture by the excellent array of extras on offer here: including convention appearances, news of a sequel in the works, and a return to the original location - to name just a few. Their enthusiasm, even after all these years, is infectious. These alone deserve an extra point.

This 4K set includes a Reversible sleeve featuring original and newly commissioned artwork by Matthew Griffin, and a Collector’s booklet featuring writing on the film by critic James Oliver, illustrated with original archive stills and posters.

Extras Include: 4K transfer of the film from the original camera negative; 4K (2160p) Ultra HD Blu-ray presentation in High Dynamic Range; Original uncompressed mono audio; Optional English subtitles for the deaf and hard of hearing; Audio commentary with director Joe Giannone, stars Paul Ehlers and Tony Fish and producer Gary Sales; Audio commentary with The Hysteria Continues; UK-exclusive introduction by Sales and Ehlers; I’m Not A Screamer, a 2022 interview with star Gaylen Ross; The Legend Still Lives! Thirty Years of Madman – a feature-length retrospective documentary on the slasher classic including interviews with various cast and crew; Madman: Alive at 35 – Sales, Ehlers and star Tom Candela look back at the making of Madman, 35 years after it was filmed; The Early Career of Gary Sales – the Madman producer discusses his career in the film industry; Convention interviews with Sales and Ehlers; Music Inspired by Madman – a selection of songs inspired by the movie, including the track ‘Escape From Hellview’ from former CKY frontman Deron Miller; In Memoriam – producer Sales pays tribute to some of the film’s late cast and crew, including director Giannone and actor Tony Fish; Original theatrical trailer; TV spots; Stills & artwork gallery with commentary by Sales.

Verdict: 7 out of 10

Original review by Ty Power 2026

Starring: Emily Browning, Arielle Kebbel, Elizabeth Banks.    

Directed by the Guard Brothers

Paramount Home Entertainment 

October 2009

Anna has been incarcerated in a young person's psychiatric correctional facility after witnessing the tragic death of her terminally ill mother in a fire. Now she is deemed fit for release by her councillor. Her father collects her, and they return to the family home. However, her mother's ex-nurse Rachel is now her father's live-in lover and they plan to marry. Anna's sister, initially resentful at being left behind with their potential step-mother, soon becomes her only ally. Together, they discover that Rachel is not who she seems to be. With the terrifying ghost of their dead mother offering guidance, the girls uncover a sinister past. But for Anna there is another revelation which will turn her world upside down...

As the film opens we hear Anna narrating her own recurring nightmare to a councillor, and see what she sees. This is a fantastic manner in which to start a plotline as we, the viewing audience, are plunged headlong into intrigue and horror. The ghostly appearances of Anna's dead mother are paced really well, and come across as feeling eerie, considering this is a loved family member. An indication of acting ability is the degree to which their character portrayal comes across strongly as intended, and I'm pleased to say that I took an instant dislike to Rachel.

The Uninvited takes a leaf out of the Ladybird Book of Japanese Supernatural Horror (that doesn't exist, you know...), with genuinely creepy moments and an atmosphere which lowers and lifts like the curtains of a successful Broadway play. In fact, this is the best American film of supernatural horror I've seen since The Haunting in Connecticut. The revelation at the conclusion is straight out of the East Asian film A Tale of Two Sisters - but that's fine, as this reveal hasn't been overused.

Extras include a rather nonsensical Alternative Ending, Deleted Scenes, and Unlocking The Uninvited featurette.

Verdict: 8 out of 10

(Review written by Ty Power for reviewgraveyard 2009)

Starring: James Houghton and Albert Salmi .    

Directed by James W. Roberson

Momentum Pictures 

October 2005

A young couple petting in a car near a run-down and supposedly haunted house are set-up in a practical joke by two teenage boys. However, the perpetrators get their comeuppance in a particularly horrific fashion at the hands of an unknown assailant. It transpires that the church owns the property, but when a young priest moves in to take it over, he gets more than he bargained for. There are existing tenants who are catered for in the deeds; a crazy old woman lives in a ramshackle shack nearby; and a police detective is a constant presence whilst investigating the killings of the two boys. Then a series of outlandish 'accidents' occur. The old woman's mute son - the last descendant of the house's original family - is the prime suspect, even though the old woman swears the one responsible is a powerful witch who was killed hundreds of years ago...

I have to say that it's curious none of the characters think to question the presence of a little girl in a pristine white old-fashioned dress immediately before some of the bizarre violent events. Nevertheless, Superstition is an eminently watchable film. What originality it has comes from the fact is uses several established horror film formats, primarily the Friday the 13th franchise. But in this instance that doesn't worry me, I enjoy those films. There's no Jason Vorhees-type menace here; rather the connection comes from the increasingly inventive ways of seeing-off the victims, and hardly any of them are obvious fodder.

This film also goes against the grain by making you think the weak personality is the one who will ultimately win through and then doing the opposite. The backstory scenes involving the witch are rather well-handled too, the inference being the woman is possessed by the devil, as opposed to being an innocent with a few parlour tricks who is put to death by superstitious yokels.

Shakespeare it's not, but if you watch it in the spirit it's intended it turns out to be most entertaining. Imagine the Friday the 13th films crossed with Witchfinder General, with a little of The Exorcist thrown in, and you won't be far wrong.

Verdict: 8 out of 10

(Review written by Ty Power for reviewgraveyard 2005)

Starring: Amber Tamblyn, Joel David Moore, Zachary Levi, Tricia Helfer.

Directed by Joel David Moore and Adam Green 

indi Vision 

May 2010

A socially inadequate introvert called Mason works as a tele-sales operator at an insurance company. His only friend in the world is Berkeley, his boss, a shallow womaniser but someone who genuinely looks after Mason's welfare. Mason is a talented sketch artist and painter; when Amber, a work colleague from a different floor, begins to take an interest in him, he feels a tentative connection which culminates in her posing for a number of portraits. However, as their relationship grows stronger, Amber discovers a number of sketch pads in a drawer. Each has a different woman's name on the cover, and contains a series of poses, the same in each book. Mason has previously refused to show her his last sketch, but when she sees it in the other sketch books, Amber begins to seriously fear for her safety...

Quite often the success or otherwise of a film like this can hinge on performance of a solitary actor. It's the reason why Tony - London Serial Killer works so well. I'm not condemning the acting abilities of the rest of the cast (which are more than competent), merely stating that if the role of Mason is not convincing then the remainder of the film will collapse like a house of cards. It's a pivotal moment that proves remarkably successful here. I particularly like the stark contrast in characterisation between Mason and Amber (her constantly chatty, him quiet and formal with occasional bursts of feeling).

Mason and his friend Berkeley prove even more like chalk and cheese. The scene when Berkeley throws his current girlfriend out of his house at Christmas dinner because she complains about Mason's behaviour is a poignant moment which displays the strength of their often turbulent friendship.

All of this is peppered with Mason's mental anguish when he keeps thinking he sees a person who can't possibly be there. The troubled glances toward a room at the end of his apartment which emits a column of light early in the film are intriguing. There's a double twist at the conclusion of the film, which I won't reveal here, and events come to an end at precisely the right moment.

This is one of those movies which leaves you pleasantly surprised at just how good a construct it is. Highly recommended to not only horror enthusiasts but primarily to followers of psychological suspense thrillers.

You may recognise the name Adam Green as director. He wrote and directed the excellent horror movie Hatchet, and has gone on to make several films since then - including: Hatchet sequels, and Frozen (the one with the guys trapped on the ski lift - not the cartoon!).

Verdict: 8 out of 10

(Review written by Ty Power for reviewgraveyard 2010)

Starring: Gregory Peck, Harvey Stephens, Jonathan Scott-Taylor, Pete Postlethwaite and Mia Farrow.    

Directed by Richard Donner, Don Taylor, Graham Baker, Jorge Montesi & Dominique Othenin-Girard, John Moore

Twentieth Century Fox Home Entertainment 

October 2006

Before we examine the content more closely, I should first mention, that for any viewers more than happy with the DVD format, this set is still available to buy as new. Amazon has it available for around £22, which is considerably cheaper than the £60 the boxset cost when it was first released in 2006. This is worth 22 squids of anyone's money!

All five Omen films up to 2006 are included in this chilling box set, featuring The Omen, Damian: Omen II, Omen III: The Final Conflict, Omen IV: The Awakening and The Omen (2006)...

The Omen (1976). Directed by Richard Donner:
Ambassador to Britain Robert Thorn takes on the responsibility of bringing up another child after he is told that his own new-born is dead. A series of strange events and bizarre so-called "accidents" culminate in Robert being warned by a rather eccentric priest that his child, Damien, is the antichrist. Finally, Robert is forced to accept the truth, but killing a small child with knives (holy or otherwise) is not an easy matter for an honest man.

It's no exaggeration to say that this is a horror classic which should stand proud among other "grandfathers" of the genre such as The Exorcist, Psycho, and Halloween. Strong performances from Gregory Peck, Lee Remick and Patrick Troughton aid it further, and the set pieces are so meticulously choreographed that they remain in the mind long after the event (and for the best of reasons; there's no gore for gore's sake here) without overshadowing the characters and events. The picture has been lovingly restored. It's a real joy to re-experience the thrill of what was a groundbreaking movie.

I had almost forgotten about the baboon enclosure scene, and even the 2006 remake chose to avoid copying the immortal decapitation by a sheet of glass, with the backwards rolling head. Even after fifty years this original and best version of The Omen has lost none of its power. The script is tight and plays out like a thriller rather than a horror, thereby lending it more credibility with mainstream audiences. And there really are thrills; the set-piece "accidents" are great and were all done for real (no CGI), but nowadays it's the earnest performances which win-over as the film's main strength. A near masterpiece.

Special Features on the film disc include 2 commentaries; Jerry Goldsmith on the Score (and what a great score it is); Curse or Coincidence featurette, and Original Theatrical Trailer. On the second disc of the Special Edition we have an Introduction by Richard Donner; The Omen Revealed (a great 46 minute documentary which reveals a myriad fascinating facts and stories about the filming, including the unexpectedly detailed English production design); The Omen Legacy Part 1; a Deleted/Extended Scene with the dog attack (this contains a commentary by Richard Donner and Brian Helgeland; Screenwriter's Notebook; an Appreciation: Wes Craven on The Omen; and a Stills Gallery. So, more extras than you can shake a holy knife at, and everyone involved comes across as shining with enthusiasm.

Omen II - Damien (1978). Directed by Don Taylor:
Damien is being raised by his foster father's brother, Richard Thorn. He is in a military academy and struggling to come to terms with his burgeoning powers. Paintings have been discovered dating back to the thirteenth century, depicting visions of the antichrist, and in particular Damien's face. As Damien learns the truth about himself, a crow emissary begins to eliminate possible threats to his rise to power. The music in this sequel is over-dramatic when very little is happening (which is most of the time). The writers apparently wanted to start the second film with Damien already secure in the White House, but the powers-that-be were determined to show his teen development.

Why does Damien not know his destiny until halfway through the film (and even then he has to be told), when in the first film he was six when his "father" tried to kill him, and would have remembered the incident and the media fuss. Also, he rails at the world when he finds out, but accepts this major upheaval far too quickly and easily.

The acting in this one seems a little stilted in places, but is helped by the presence of some big names, such as William Holden, Lee Grant, Robert Foxworth, Elizabeth Shepherd and Lance Henriksen. The finished product might have been improved by Richard Donner, who was unavailable due to filming Superman the Movie.

Special features are a commentary by Producer Harvey Bernhard; The Omen Legacy Part 2 documentary; The Omen 2006 - Life After Film School.

Omen III - The Final Conflict (1981). Directed by Graham Baker.
Damien has been head of Thorn Industries for seven years, but he discovers from an obscure Egyptian Biblical text that the new Messiah, the Second Coming, will be born in England (where else?!) and do battle with the Beast. Arranging an "accident" for the current US ambassador to Great Britain, Damien secures the post and travels to England to be in the right place at the right time. An order of monks comes into possession of the seven holy knives (the only weapons which can kill the anti-Christ) and set out to rid the world of evil, but the threatened Damien orders the deaths of all newborns in the prophecised location.

Sam Neill is convincing here as the 33 year old Damien. James Mason suggested the relatively unknown Neill for the part, but the studio was not prepared to pay for his flight from New Zealand for the screen test, so Mason felt obliged to offer it himself. Needless to say, he got his money back.

This second sequel has a much better plot, as the characters actually seem to have direction, whereas in the second film they simply went through the motions. One point of interest: in the original Omen the holy knives are supposed to be employed in a cross pattern in the torso of Damien, whereas at the conclusion of this one a single blade in the back kills the adult Damien. This would have acted well as a first sequel.

Special Features are a Commentary by Graham Baker; The Omen Legacy Part 3 (which is more film clips than information);The Omen 2006 - Making a Scene.

Omen IV - The Awakening (1991). Directed by Jorge Montesi/Dominique Othenin-Girard.

Karen and Gene York adopt a baby from a convent, but after a series of incidents Karen realises there's something not quite right about their daughter Delia. Using a private investigator, Karen attempts to trace the girl's real parents, but when she falls pregnant, against the odds, her moment of bliss turns to terror.

Oh dear, now we're getting silly. The only genuine, fleshed-out character in this third sequel is the private detective, and even he gets wrecked (watch the sequence) as if the concept of his premature death is inevitable. The reasoning behind Karen's suspicions is pretty tenuous, so here's The Omen IV's guide to recognising the antichrist in your child:

1. The baby screams at its Christening.
2. The child gets in trouble at school.
3. Somebody at a Psychic Circus says the child has a negative aura.
4. Some people the child has met later have heart attacks.

See what I mean? After reading this guide half the parents in Britain will be quaking in their boots and attempting to stab their children with holy knives! One continuity question: Why does Karen only notice the 666 on her baby's hand at the end?

As has become common, if not standard, in horror films the ending leaves the way open for another sequel (God forbid!). Instead, we get a remake...

The Omen (2006).Directed by John Moore. See The Omen above for synopsis:
This remake has its faults, but it's not as bad as it might have been, considering it follows the 1976 classic which still looks good today. Once you get over the obvious question of "Why?", you'll enjoy a moderately good film that copies the original format for the most part. There are a few exceptions when John Moore attempts to stamp his own authority on the new version and bring it up to date with recent events, but these efforts are going to be pretty much overlooked by modern audiences. If you're new to The Omen franchise you'll enjoy this, because all performances are strong, but watching the original film in this set you'll almost certainly revert back to the question "Why?"

The answer becomes obvious when you consider that the four older films in this Pentology (that's not a word, is it? Pentagram Box Set would have been my title) have been remastered to be appreciated anew, and that there are more extras than you can shake a holy knife at - particularly on the original disc.

Special features on this one include a commentary by John Moore, Glen Williamson and Dan Zimmerman; Omenisms - The Making of 666; Abbey Road (music) featurette; Revelations 666 featurette (exploring the legend of the Beast); Extended Scenes and Alternate Ending, as well as Trailers.

This is the ideal outlet for these films which, after all do deserve to be packaged and appreciated together. Aside from The Omen (1976), these are not great films. You might not go out of your way to pick up one of the sequels; however, having them all together and remastered might just make you sit down and give them a try, and they do deserve that much. Alternatively, as each of these films are also available separately, opt for The Omen (1976) 30th Anniversary Special Edition.

There are two more recent collections, but neither are UK releases. The Omen Collection (2019) is not only an American issue - and so not playable on our systems, but they are also NTSC rather than PAL. The Omen Film Collection (2020) is an Italian release so, although sharing our Region 2 for Europe, has the packaging and menus in their native language.

There has still not been a standalone 4K release of The Omen (1976) in the UK, so I'll look forward to that, as the original is an undisputed classic.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2006 - Updated 2026)

Starring: Frankie Avalon, George Sewell, Dennis Price. Richard O'Sullivan, Jill Haworth.    

Directed by Michael Armstrong        

88 Films (Tigon)

January 2025

A group of young adults are partying in swinging sixties London. Most are paired-up as couples, but it seems that anything goes. When they become bored with the proceedings, one of them suggests they explore an abandoned and supposedly haunted mansion just out of town. One of the girls has recently split with her much older boyfriend, but he refuses to accept the break, turning up at her flat and following her in his car. Thus, he trails her to the mansion and watches from the grounds. When one of their number is found brutally murdered, the others become hysterical and argue amongst themselves. When they search the 'haunted' house and discover no one else present, they decide that the blame would be centred on them by the police, so they decide to bury the body in another location and say nothing about their visit to the mansion. However, the realisation that one of their number must be the killer causes dissension in the ranks, so-to-speak. When they reluctantly agree to return to the mansion for a more thorough search, it will prove to be a fateful decision.

There are so many holes in the plot here that it should have been called The Colander Killer. The film is, in football terms, what is known as a game of two-halves. The script and movie itself was called The Dark for a long time. First time director Michael Armstrong had first written the script when he was eighteen. He returned to it years later and it was giver the go-ahead by Tigon Films, who made the pagan horror classics Witchfinder General (starring Vincent Price arguably in his best role) and Blood On Satan's Claw. The actors, including Frankie Avalon and Richard O'Sullivan (who would later find fame in TV serials Man About the House and Dick Turpin) enjoyed the camaraderie on set and the making of the film, but most seemed to have the opinion that when Tigon took over control of the film the content suffered for it.

Tigon inspected the unfinished content, wasn't satisfied, and set about scripting and filming entire new scenes. This is where the movie turns into two concepts and continuity goes somewhat down the pan. The original script was more of a chiller/thriller, but Tigon wished to present it as a horror and thought to achieve this by changing The Dark to The Haunted House of Horror -  which, in the context of when it was made, is an eye-catching title - even if it has only the loosest connection to the plot. George Sewell was a great actor, who would go on to be a regular in the popular serials Special Branch and Gerry Anderson's U.F.O., but he and his sub-plot strand was added to no purpose but as a red herring. There was also the changing of the initial setting to a swinging sixties London, with 'groovy' people and fashionable shops - and this is what Tigon thought would connect with the 'happening' young people of the time.

It's far from being a disaster, but it does create a clash of cultures between the party and the mansion house. The ending is a little rushed, too. It's not a dull film, but it is a little disjointed.

There is a Limited Edition Picture Booklet, plus a Reversible sleeve featuring new artwork by Sean Longmore & the original artwork poster.

Extras Include: Audio commentary by Film Critics Kim Newman and Sean Hogan; Audio commentary by Film Journalists Troy Howarth and Nathaniel Thompson; The Making Of The Haunted House of Horror; House of Horrors - Micheal Armstrong on The Haunted House of Horror; Helping to cut The Haunted House of Horror; A Party to The Haunted House of Horror; Haunted House of Horror Trailer; Horror House Trailer; Stills Gallery; Limited Edition Picture Booklet; Reversible sleeve featuring new artwork by Sean Longmore & original poster.

Verdict: 5 out of 10

Original review by Ty Power 2026

Starring: Thomas Sainsbury, Hayden J. Weal, Kate Simmonds, Noa Campbell, Tawanda Manyimo.    

Directed by Thomas Sainsbury        

Arrow Video

February 2026

Ian sets out reluctantly on a hiking trip on the remote Loop Track trail in New Zealand. Breathing heavily with every step, he is far from certain about his physical health, his surroundings or, indeed, his state of mind. Loaded with anxiety, he simply needs to be alone. So, when he spots an Australian honeymooning couple, he hides to avoid them. Unfortunately, he is spotted by a chatty and over-zealous man who insists on sticking to him like glue - even though he attempts several times to ditch him. At the first cabin stop they meet the Australian couple. Suddenly, they are a unit: Ian's worst nightmare. Being introverted, highly-strung and paranoid (perhaps hiding something from his past), Ian becomes suspicious of his companions. The feeling of unease is exacerbated when he spots a distant shape in the trees. Things come to a head when two backpackers go missing. Is one of his companions guilty? Is there something dangerous in the vastness of the New Zealand forests? Or has Ian something to hide - even from himself?

Upon first viewing, I considered Loop Track to be mildly interesting. Okay, it's not the greatest horror/thriller that's ever graced our screens, but I subsequently re-evaluated the content. Of course, by far the most interesting character is Ian, more than ably played by director Thomas Sainsbury. He partly based Ian on himself (as he saw his past self as nervous and disliking conflict of any kind), but this characterisation is exaggerated. It's more open to interpretation; it's the only factor which makes this film interesting - aside, perhaps, from the ending. The plot has been described as an allegory for knowing when to ask for help. There's definitely something in that; however, much more is suggested of Ian's background than is played-out. We learn that he was married and separated, but there is no development on this. Did it end because of something his wife did, making him the way he is? Or did it end because of his mannerisms or something he did? I know that in real life we don't get to know the complete story of a person but, in the confines of a movie, why mention an incident unless you're going to expand upon it?

So, in conclusion, although I enjoyed the film for being a psychological exploration of a character's perspective (a journey of discovery), I believe that aspect could have been expanded significantly more, so that we don't really know whether he will be the villain or the reluctant hero. Therefore, I was left disappointed because of what it could have been.

This is a nice little package, incorperating: Reversible sleeve featuring original and newly commissioned artwork by Dare Creative; Double-sided foldout poster featuring original and newly commissioned artwork by Dare Creative; Illustrated collector’s booklet featuring new writing on the film by film critic and author Alexandra Heller-Nicholas, director’s notes and project background.

The extras are entertaining and insightful. As each are only two or three minutes long, it might have been a good idea to incorporate them all into one documentary.

Extras Include: New audio commentary with director, writer and lead actor Tom Sainsbury alongside producer and editor Gabriel Lunte; The Story, director and writer Tom Sainsbury introduces the story behind Loop Track; Tom’s Vision, director and writer Tom Sainsbury discusses where the idea behind the film came from; Origins of the Film, the producers of the film discuss the origins of the film following their short film (Time) Travel Centre; Characters and the Cast, Tom Sainsbury introduces the cast; The Creature, featurette detailing how The Creature came to be; Production, the crew discuss the feature production; Cinematography, producer and Director of Photography Milon Tesiram discusses the look of the film; Original Score, composer Mike Newport discusses the score; The Hut, featurette on the construction and design of the cabin; Eyers Forest Park Promo, promotional video for the Eyers Forest Park trails; (Time) Travel Centre, Tom Sainsbury’s 2016 short film, winner of the 48Hours Film Festival; Image gallery.

Verdict: 7 out of 10

Original review by Ty Power 2026

Starring: Indy (as himself), Shane Jensen, Arielle Friedman.    

Directed by Ben Leonberg        

Visions Home Video

February 2026

Indy has been with his owner Todd since he was a pup. They are 'Buds' and have a strong connection: best friends and inseparable. When Todd's grandfather dies, they take over his remote and rather creepy house, despite the protests of Todd's sister, because he is ill and shouldn't exert himself. Immediately, Indy begins to sense dark shadows and indistinct, frightening humanoid shapes. As time goes on it escalates, along with Todd's illness, as he coughs-up blood, passes out and loses touch with his true character. Indy, though terrorised himself, is desperate to protect his friend and master, but a dark malevolence seeks to separate them and drag Todd into the darkness.

This is a totally original horror film in that it takes place entirely from the point of view of the dog, Indy. That's so refreshing. Director Ben Leonberg and Actor Shane Jenson have thought totally outside of the box - even though it took them three years to do so. This innovative new sub-genre is not all about CGI whizzes and bangs; instead, it is a taut horror/suspense which tweaks several emotions, such as sympathy, sorrow, trepidation, eeriness, panic and sheer fright. Indeed, a couple of the creepiest moments are nightmare sequences endured by the dog.

There is a very small cast: aside from the brief hospital scene, there is only a nearby landowner, Todd's sister (who is never seen clearly; i.e. on the telephone, and once in person - indistinct against the sun), Todd and, of course, Indy. The dog was intended to be the star from the beginning and, boy, does he shine. Indy is excellent. I can't complement him enough. You may think it is cruel to put a dog through this, but the truth is - as you'll see from the extras sequence - the dog had no idea he was making a movie, because his reactions and movements were captured separately. Watch it and you'll see what I mean. This movie was very carefully constructed. It's effective and, at 73 minutes, doesn't outstay its welcome. It's not surprising that Good Boy has already won an award.

Extras Include: Making an Indy Film: BTS Featurette; Theatrical Trailer.

Verdict: 7 out of 10

Original review by Ty Power 2026

Starring: Isabelle Adjani, Sam Neill.    

Directed by Andrzej Żuławski       

Second Sight Films

December 2025

Anna and Mark's marriage is on the rocks - to say the least. It has degenerated into a chaotic ritual of shouting, physical and mental violence, and even self-abuse. Matters are further exacerbated when Anna starts to go missing on a frequent basis, and mark is left alone to care for her son. Mark soon discovers that Anna has a lover called Heinrich, whom he traces and confronts. The man is strange and sadistic, and thinks he has Anna under control. However, the two men soon learn they are both being duped for another mysterious lover. Becoming increasingly unhinged, Anna is compelled to regularly make love to a tentacled creature that must be protected at all cost...

This is a strange one. Polish director Andrzej Zulawski's projects have always caused controversy. He was practically prevented from making films in Poland during the days of Communism. He was persuaded to move to France, where he continued his trade.

Possession was written after the director's own marriage break-up due to a third party. The film was nominated for a BAFTA, but soon became a banned 'video nasty'. It can certainly be viewed at different levels, and will certainly mean something different to individual groups. On the surface it is a movie about the extremities of adultery. I saw it more as a descent into madness. Zulawski intended it as a political allegory. There are also somewhat stronger religious connotations inherent in the story. Most promoters saw it as a rather unsavoury horror.

Although Possession is fourty-four years old now, it's still shocking in places. The two lead performances are strong. Sam Neill's performance is edgy and totally convincing, and Isabelle Adjani's portrayal of Anna is... well, it has to be seen to be believed. The film can be seen as an allegory of hurt, deception, entrapment and longing. Simply breathtaking and deeply disturbing.

A quote from Mark Kermode on the publicity release will always be an eye-catcher, as he is easily the best film critic around (apart from me, of course!).

Love it or hate it, Possession simply can't be ignored. It deserves its place in film history, but will only appeal to collectors. It's evident that mainstream viewers are going to exclaim, "What the hell was all that about!?" and dismiss it out of turn.

I'm not sure if the crisper picture improves the mood of the piece or throws too much light on what should never be completely seen outside of the viewer's subconscious mind. Is this an art-piece abstract work, or a monster movie descent into madness? You decide. But look out for The Horror of Normality: Guillermo del Toro on Possession - on the extras.

Extras Include: A new 4K restoration approved by the Producer; Includes the North American Re-edit: newly restored from an archive print; New Audio Commentary by Alexandra Heller-Nicholas and Alison Taylor; Audio Commentary by Director Andrzej Żuławski moderated by Daniel Bird; Audio Commentary by Frederic Tuten moderated by Daniel Bird; New Audio Commentary by Daniel Bird and Manuela Lazic (The North American Re-edit); The Horror of Normality: Guillermo del Toro on Possession; The Shadow We Carry: Kat Ellinger on Possession; Repossessed: The Film’s UK and US reception; Andrzej Żuławski - Director: archive documentary; A Divided City: The Berlin locations; The Sounds of Possession: an interview with Composer Andrzej Korzynski; Our Friend in the West: an interview with Producer Christian Ferry; Basha: a featurette on poster artist Barbara ‘Basha’ Baranowska; The Other Side of The Wall: The Making of Possession; Archive interview with Andrzej Żuławski; Deleted Scenes; Theatrical Trailer.

Verdict: 7 out of 10

Original review by Ty Power 2026

Starring: Nicholas Cage, Brendan Meyer, Elliot Knight, Joely Richardson, Madeleine Arthur.    

Directed and co-written by Richard Stanley (Based on the Story The Colour Out of Space, by H.P. Lovecraft).      

StudioCanal

April 2020

Nathan Gardner (Nicholas Cage) moves his wife Teresa (Joely Richardson), adolescent son Benny (Brendan Meyer) and daughter Lavinia (Madeleine Arthur), and young son Jack (Julian Hilliard) to a remote farmstead in Massachusetts, not far from Arkham. It is a chance for a new, healthier, self-sustaining life, and the hope that a more relaxed existence will aid his wife's fight against a dehabilitating illness.

When a meteorite hits their land close to the house, the local authorities are called from Arkham to check it out - only to lose interest when it appears to disintegrate overnight. However, the meteor from space has left something behind: a mysterious organism which immediately begins to affect the ecosystem. The animals are the first to sense trouble, being almost permanently spooked, and their pet dog snarls confrontationally, seemingly at nothing in particular. There is a weird glow emanating from the well and young Jack apparently converses with something unseen. Ward Phillips is a young man concerned with the water table. He takes a liking to Lavinia and advises them all not to drink the water. Is it too late though? The entire area is infused with a thick, cloying hue of purple and deep magenta. The fruits grow large and in abundance, but are putrescent to the taste. Furthermore, the dominant new cosmic organism has begun to affect and change the family.

Let me first address the elephant in the room. This film is based on an H.P. Lovecraft story first published in Amazing Stories in 1927. It is one of his most well-known and appreciated written tales of cosmic horror. Americans spell Colour without a 'u' but, although Lovecraft was American he preffered the Old English spelling of the word. So, in this context, it is spelled incorrectly here, because it is not the precise spelling of Lovecraft's story.

Nevertheless, this is the closest representation of Lovecraft's seminal story I have seen committed to film (Die, Monster, Die! from 1965 is more loosely themed, but it does have a well and a plant creature growing in the geenhouse - like you do!). Thick layers of oppression are dropped on the atmosphere here throughout the running time. It does work but, because the characters are affected very early on, we don't get to experience enough of their normal personalities to be able to plainly notice the changes in the way they think and act as the plot progresses. It is very well made, though, with nice CGI effects and physical body horror. I don't think any straight adaptation of Lovecraft's work ever reaches the heights of his atmospheric prose, which is why original Lovecraftian influences tend to work much better on film (Event Horizon and John Carpenter's In the Mouth of Madness are two examples).

Many people seem to have a take-him-or-leave-him, fly attitude towards Nicholas Cage. I have a lot of respect for the man: having lost an extravagant fortune via an investment financial crash, rather than file for bankruptcy he meticulously began to pay back his losses and embarked on an extremely heavy workload. Not being a so-called 'A' List actor enables him not to price himself out of the market and to take more interesting roles. Okay, he's not the most charismatic actor but he is compelling and can turn his hands to most genres.

Richard Stanley directs this one with finesse and a fair amount of atmosphere. It's a film which you can appreciate without wishing to actively return to too many times. He also directed Mandy, and you can immediately spot the similarities of style... and hue! I hope to review that one soon, too (is it a sci-fi, a horror, a revenge thriller? - yes, all of those). If you enjoy the horror classics and haven't tried H.P. Lovecraft, I urge you to give him a go (expect lots of atmosphere and a clever steady build-up of tension).

Extras: NONE. Can you believe that in this day and age? One point has been dropped from my rating for this omission.

Verdict: 7 out of 10

Original review by Ty Power 2026

Starring:  Matsushima Nanako, Daisuke Ban, Yukie Nakama, Risa Goto.    

Directed by Hideo Nakata

(Based on the Novel by Koji Suzuki).      

Arrow Video

June 2019

In Memory of Koji Suzuki - who sadly passed away in May 2026 - the Japanese Horror Icon who wrote The Ring (Ringu) and many other groundbreaking horror novels.

After a schoolgirl dies in a rictus of terror a female journalist called Asakawa investigates the modern legend of a video which kills the viewer after a week. She discovers that four friends stayed at a cabin, watched a video and died a week later. When she traces the cabin, she finds the video and watches a series of strange images surrounding a well, a woman in a mirror and an eruption. Immediately it is finished the phone rings and she knows she only has a week to live.

The woman in the mirror is discovered to be Shizuko. More than 30 years earlier a Dr Ikuma had arranged a demonstration of her E.S.P. for the press. The results were amazing, but one reporter started a near riot by calling the test a hoax. The reporter dropped dead, but Shizuko was as surprised as anyone and realised it was her daughter Sadako, who had been in hiding. People called Sadako a monster as people often died around her. When Shizuko died Dr Ikuma adopted her as his illegitimate child. Now, Asakawa is searching for answers in a race against time which is made more desperate when she learns her little boy has watched the video. She guesses that Sadako was killed and sealed in the well, and thinks that if she finds the body her life will be saved. But what if that doesn't end the curse and her time runs out?

Ring made quite an impact when it first emerged in 1998. Hideo Nakata gave us something almost totally different to what we had become accustomed to. It's essentially a ghost story, but gives us both new and old legends as well as an investigation against the clock. The American remake, although pretty good, failed to recapture the pace and storytelling skills of this Japanese original. Nakata's groundbreaking horror is creepy whilst remaining tasteful. Unlike many Hollywood directors he also knows how to command the scenario of time running out. One or two people about to die somehow carries more tension than an entire facility, or indeed the entire world, going up in flames. The suspense of being trapped on an island during a storm with little more than a day remaining is very well handled, as is the draining of the well as the sun sets outside.

Asakawa, the journalist from the first, film is missing and her ex-husband, thought saved, is dead. The body of Sadako has been recovered from the well. The pathologist explains that Sadako has only been dead for a year or two, which means she was alive for 30 years sealed inside. The father of Asakawa is found dead at his house. It is rumoured that the only way to survive the curse if you have seen the video is to make a copy and show it to somebody else within a week. It is thought that she sacrificed her father to save her son. After a number of curious sightings the boy is found. It turns out that, like all those affected by the curse, he has developed some terrifying powers from Sadako. A research scientist explains that the video is the embodiment of Sadako's fury, and that Yoichi, the boy has some of that same fury. But an experiment to drain it off goes disastrously wrong...

This film continues the story pretty much from where the last one left off. Asakawa and Yoichi, her son, have to be found, and when they are Yoichi becomes the main focus of the story, although his powers are linked inextricably to Sadako. Ring 2 from 1999, also by Hideo Nakata, follows a similar format of investigation interspersed with off-kilter links into the nightmare world of Sadaka. The scene at the pool when the water is used in an attempt to soak up Yoichi's fury is quite spooky. A journalist colleague of Asakawa climbs the inside of the well, with Yoichi clinging on, whilst Sadaka pursues her at an alarming rate. When she reaches the top it is to emerge from beneath the water of the pool.

In this prequel to the first film, Dr Ikuma and Sadako have disappeared after the events of the E.S.P. demonstration. Another reporter called Miyaji is trying to trace them. After complaining about seeing strange things, Sadako later tells her therapist that a drama troupe she has joined has helped her condition. However, although Sadako finds love for the first time, most people keep away from her because she is unusual and aloof. Two of the actors have a dream with a well in it, and see someone approaching Sadako from behind. One of them dies in the drama hall with a hideous expression on her face. The production continues with Sadako being given the lead part, but when Miyaji and one of the troupe try to kill her there are unforeseen consequences...

Whilst Ring 0 - Birthday from 2000 (by Norio Tsurunta) doesn't have as many set piece edge-of-the-seat moments, it does achieve much in explaining some of the unanswered questions created by the first two films. We see Sadaka in the days leading up to her death; all the troublesome moments appear to come from a third party and she herself pleads innocence without explaining why. The end sequence is quite inventive and I wonder if Nakata himself sanctioned this twist to the whole saga.

Spiral is sometimes referred to as the lost sequel to the first film. It emerged in the same year - and is somewhat closer to Suzuki's novel - but failed to make a similar impact. Although planned as the original sequel to Ring, and screened regularly as a double-bill, negative audience feedback meant that it disappeared virtually overnight to be replaced by the 'official' sequel Ring 2. Spiral certainly has its moments, being well-worth a watch; however, it is guilty of attempting to delve too much into Sadaka's back story, which is one of the reasons it is a little messy. An exact adaptation of a novel doesn't always work - especially when much of the pertinent story has been told. I see this as a bonus addition to the trilogy; it is of interest historically, but is not to the standard of the others.

I reviewed the Tartan DVD release of the trilogy back in 2004 for reviewgraveyard. That one had the hidden and unannounced bonus of a exellent year 2000 film by Hideo Nakata called Sleeping Bride, which was almost worth the entrance fee (as they say) by itself. These four films, however, are all in glorious HD, with a number of entertaining extra features. The first film Ring is also available on a 2025 4K release - with a Limited Edition Region Free 4K Collector's Set having been released two years earlier. Do yourself a favour and add this to your collection, if you can. And be careful not to pick up the sub-standard American remakes by mistake.

Extras Include: Brand new 4K restoration of Ring from the original camera negative, approved by director of photography Junichiro Hayashi, High Definition Blu-ray (1080p) presentations, Lossless Japanese DTS-HD master audio 5.1 and PCM 2.0 soundtracks, Optional English subtitles; Bonus feature: Spiral, George Iida's 1998 sequel to Ring; New audio commentary on Ring by film historian David Kalat; New audio commentary on Ring 0 by author and critic Alexandra Heller-Nicholas; The Ring Legacy, a series of new interviews from critics and filmmakers on their memories of the Ring series and ints enduring legacy; A Vicious Circle, anew video interview with author and critic Kat Ellinger on the career of Hideo Nakata; Circumnavigating Ring, a new video essay by critic Jasper Sharp on the J-horror phenomenon; The Psychology of Fear, a newly edited archival interview with author Koji Suzuki; Archival behind-the-scenes featurette on Ring 0; Ring 0 deleted scenes; Sadako's video; Multiple theatrical trailers for the Ring series.

Verdict: 10 out of 10

Original review by Ty Power 2026