Welcome to the new home of Creepercast.com. Where we let the fear creep in with all things horror genre. News, Reviews, and more! STAFF:
J.P.: Editor (EIC - Editor in Cheif), Writer (CC - Content Contributor);
Joel Kenyon: Editor (AE - Assistant Editor), Writer (CC - Content Contributor); William S Mayfield: Writer (CC - Content Contributor)
Richard Vanuck is a natural born Exorcist, in fact, he's the best there ever was and with possessions on the rise across the city, he's booked solid. Case after case, he stares evil incarnate in the face and takes on Satanic forces to help those in need but not without a price because not only is it slowly changing him and time is running out. Full review coming soon.
“Why can't people in Hollywood come up with an original idea anymore?”
That's the question many people seem to be asking recently. Why, you ask? Because remakes are everywhere these days. No matter what your opinion on them, you can't ignore their existence or look at them as lesser films because they're a re-telling of someone's elses original story. Perhaps there are more of them now, than in the past, but remakes have always existed. What's ironic about them is that, when it's a film, it's not okay, but when it's a song or a cartoon, it's accepted and even applauded. Really, what's the difference? Take the music of Mozart, for example, how many times and how many orchestras have redone his various pieces of music? Why doesn't this logic apply to films too? Case in point, Eli Roth's 'Knock Knock', a modern take on Peter Traynor's 1977 film 'Death Game'. Times have changed pretty drastically, since the 70's. Now with the era of cell phones, social media and a new mentality for the modern youth culture, you take something that was dated and make it relevant again. Not unlike swapping out one conductor for another, to re-shape the music and make it something new again. Granted, it may be the same basic story as before, but it feels entirely different and becomes something you can fall in love with all over again. It doesn't happen all the time. There are some directors and studios who are in it for the cash grab. The ones who just want a quick and easy way to make a buck. Those are few and far between, as sequels are the better option for the ones who only worship the almighty dollar. I truly feel that most of the directors who take on the remake or re-imaging, have a genuine desire to pay homage to the original and want to put their own stamp on it. To give it something unique that maybe share something they felt that was missing or that would enhance the original story line. Rob Zombie, Alexandre Aja, and many other well respected directors, have taken something old and made it new again. Now, you can add Eli Roth to that ever growing list.
It's been a big year, so far, for Mr. Roth. As a matter of fact, I already shared my thoughts on his cannibalistic tour de force, 'The Green Inferno'. It took two years for that one to hit the theaters and in the meantime, he hopped back into the director's chair to helm 2015's 'Knock Knock'. He'd taken quite a hiatus, prior to these films, and I was beginning to wonder if he'd ever come back to his roots. He's a man that helmed the next generation of horror masters and brought gore back to the mainstream, where it'd gone missing ever since the self aware 90's. He's someone that never stops moving and always seems to have something going on creatively. Whether it's hosting 'Shark Week' on the Discovery channel or acting in the underrated film 'Aftershock'. (Which he also co-wrote, with Nicholas Lopez.) Eli Roth is a man of many hats. He was born to entertain and never misses the opportunity to do just that. Say what you will about the quality of his work or the method in which he brings it to life, the man's films are never dull. I'm a fan, so I may be a little biased. However, he must be doing something right, as he's worked with some of the biggest and brightest in Hollywood and hasn't stopped working since 'Cabin Fever' was released in 2002. (That film garnered two sequels, both of which had a certain charm on their own, but without him in the director's chair.) 'Knock Knock' stands out among his body of work as a bit of an anomaly. It has all of the earmarks of an Eli Roth joint, but with some restraint in the gore category. You can feel the same tension and not so subtle allegory that he's working to show you, it's just told in a bit more slick and streamlined fashion. Nothing wrong with an artist showing growth in their work. The minute you stop growing and changing, is the moment you hang up your hat and move on to reality television.
The film begins with a tranquil scene of family life. A man, his wife, their 2 kids and Monkey, the French bulldog all waking up to quiet, suburban life. However, you can quickly see the cracks in the foundation, as we're introduced to the fact that things aren't quite what they seem. It's subtle, but still painfully obvious that Evan Webber (played by Keanu Reeves) and Karen Alvarado (played by Ignacia Allamand) are having issues in their marriage. It's even suggested that it wasn't the first time things have been a problem. Soon, his wife and kids are off and he's left alone for the weekend. Then comes the dark and stormy night, not unlike the beginning of oh so many horror stories, when 2 lost girls come knocking on the door. It starts out innocently enough. A man, doing the right thing and helping them to dry off and call them a car to come and pick them up. However, during the 45 minute wait for their ride, there's a shift in the conversation. From innocent to not so innocent to flat out dirty. Evan is flirty, at first, but in a way that most people would react when attention from the opposite sex is shown. Flattered and feeling vital for the first time in a while, he encourages the attention. When they push things past the point where he feels comfortable, he tries to calm things down. He does everything he can, but they refuse to take no for an answer. In a role reversal to most films in this genre, the girls become the predator and the man becomes the prey and once things have gone past the point of no return.... all bets are off. The next morning, Evan finds that they're not in bed anymore. He wanders into the kitchen where they've all but destroyed it while making breakfast. Things turn from bad to worse, as the girls won't leave. After doing everything he can to end this night of terror, they agree to leave. He drops them off and thinks it's over. He ends up being wrong and that's where the real horror begins. What happens from that point forward, has to be seen to be believed. I won't spoil it for you, as part of the fun is the ride itself. If you can call it fun? It's truly a terrifying thing, to know that no matter what you do and how you try and handle a situation, if it's out of your control.... there is nothing you can do. Nothing.
At it's core, 'Knock Knock' is a home invasion film. It also shares a lot of similarities to all of the other films of Eli Roth. From it's slow opening set up, complete with beautiful music playing and very pretty bits of scenery all around. Something to establish what beauty is, before the ugly sets in. Beautiful women and beautiful foreign women, Eli can't get enough of them. All of the tension that illuminates every one of his other films, is ratcheted up in this one, mainly because of the antagonists. You're not quite sure how far they'll go and you also don't know if they are underage or just young looking. It causes you to feel very conflicted and mentally ties your hands as to what you can do to get rid of them, if you were in his shoes? Where things start to separate themselves from his earlier work, is in the gore department. 'Knock Knock' is light on the blood, guts, gore and icky stuff. However, it still feels every bit like an Eli Roth creation. As the story progresses, the film ends up being less of a horror film and more of a psychological thriller, with some horror on the side. It's as if he saw this as an opportunity to turn exploitation films upside down. Make the women the villains and the man the victim. It's very effective, but could be taken as a negative by some. It leaves you wondering if the women are serial killers, girls on some kind of a mission or perhaps just flat out sicko's. It causes Keanu's character to have a weird fit of spastic rage, that is one of the few weak spots in the film. Keanu isn't designed for that kind of outburst, in my opinion. Also, the ending feels right for a film made in the 70's, but sticks out like a sore thumb in a modern film. Is it all a joke or just a game or will this continue to go on for as long as they don't get caught? At the end of a long day of kidnapping, 'Knock Knock' falls into the 3 out of 5 star range. There are far too many plot holes, missing motivations and a script that needed a modern punching up to make this a 4 star film. It doesn't make it a bad film, just less than I expect from a man who's built a solid reputation and is a reason I love horror like I do. Watch it and judge for yourself, just don't let any stranded girls in from the rain, unless your Dieter Laser.... but that's another film.
If you like this, check out some other, intense, home invasion films: 'The Strangers', 'Ils' aka 'Them' or 'Funny Games' (1997 or 2008)
Here we are again, another found footage horror movie and another review trying to determine if it's worth your time to watch.
It seems like these days, independent film makers and Hollywood would rather invest their time and money into a genre that's already bloated in the marketplace, then to work on creating a new long term franchise with a traditionally made film. It's not that there's a lack of new ideas or that reboots and remakes are killing the genre, it's simply that it's cheaper, easier and makes more money to create a movie like 'The Gallows'. You can use no name actors and nobody thinks twice. You can skimp on your production crew, because it's supposed to look amateurish. You can even short the audience on costuming and the fine details, because the camera is not as high quality and everything is so jumpy. Nobody will ever notice. By saying all that, I'm not concluding that the found footage genre is a bad thing. As a matter of fact, I'm a huge supporter. If you can take something that's so over blown and put something out there that's fun, clever and damn scary, then you've got my attention and my admiration. Not unlike the zombie films of the last decade, the 'self aware' horror of the 90's and the slasher films of the 80's, found footage is the “it” genre to work in right now. Therefore, you better come at me with both guns blazing and be prepared to put your heart and soul into the project.... because I'm not going to give you a pass just because you half assed it.
'The Gallows' falls somewhere in the middle of all of that. I don't think the film makers phoned it in and I truly believe that they were putting their best foot forward. Especially since this was originally funded independently by people who'd never invested in a film before. They wanted to make the film their way and took the time and faith of others to do it. However, I think that Hollywood took advantage of the situation and stuck both their hands into the pot and stirred it up. Just like the old saying goes, “Too many cooks, spoil the broth.” The end result was a movie that started off strong, but ended with a giant collective groan and a whine.
The plot centers around Reese, a high school football player who's taken on a leading role in the theater department's upcoming production of a play called 'The Gallows'. It's the same show that the school put on over a decade ago, that resulted in the death of one of the students. His best friend Ryan and Cassidy continually question his motives, until they learn that he's got a crush on his leading lady, Pfeifer. During the course of the day, Reese, Ryan and Cassidy decide to sneak into the school, after hours, to investigate things and sabotage some of the production. Once inside, they quickly realize that they may get more than they planned on. They're also joined by Pfeifer, who saw Reese's car in the parking lot and came inside to find out why he was there. Over the course of the night, things go from bad to worse, as they begin to be terrorized by an unseen force. Locked inside the school and with no way to stop the entity within, the 4 of them must find a way to escape before they all end up dead.
Filmed inside one of the most haunted buildings in California, the cast was not aware of the scares that the directors had prepared for them. Therefore, all of the reactions are real. It was also always the intention of the film makers to create a new horror icon in their main character, Charlie Grimille. The film has already sparked a resurgance of the game 'Charlie Charlie' and created an interest in the Charlie Grimille Halloween costume. This was intended to be a franchise from day 1 and to be something more than a throw away horror film that no one would remember in 10 years from now. Sadly, I don't think it worked. Personally, as a film lover, horror buff and a guy who doesn't always follow the rest of the crowd.... I think that if this was done in a more traditional style, they could have had the icon they intended. Instead, I believe that this genre is too unforgiving to allow for this to happen. The 'Paranormal Activity' juggernaut is a rarity. It's the exception, not the rule. It's just too hard to build something long lasting, with a format that's so spur of the moment. You can only take it so far, before the audience loses interest in the gag and wants actual substance instead of a gimmick. Even 'Paranormal Activity' is starting to suffer from this syndrome and has slowly been on the decline since part 3. The other issues I have with this movie is the lack of logic. Yeah, I know, horror isn't about logic all the time. However, what school would have a door that's perpetually unlocked in this day and age? With all of the school shootings going on since 1999, school security is a #1 priority for any place of learning. Also, what school would allow the theater department to put on a new production of a play that killed one of the former students? How incredibly distasteful and cold hearted would you have to be to let it happen? I can only imagine that the parental uproar over the mere mention of it, would more than convince the school board to never allow it to happen. Finally, let's talk about the killer himself. Charlie is far from scary, intimidating or even interesting to watch. He's basically a Halloween costume with a puffy shirt on. (Meaning he looks kind of like a pirate.) And the noose? While the idea of choking to death is frightening, the idea of dying by the hands of a low rent pirate, with a hood on, is not. Perhaps if they'd cheated things a little more and not made him so front and center? Maybe it could have worked? And the ending? Don't get me started on that one. Not too mention, I don't want to spoil the surprise, twist ending.
All in all, I still think you should watch it for yourself and then decide what you think. Maybe you'll like it? I, personally, don't ever need to see it again and unless the reviews are beyond stellar for the next one, I won't be watching any more in this potential franchise. 'The Gallows' has moments of brilliance, but they're so few and far between that I can't give it a pass on those moments alone. I will be curious to see what the writer/directors Travis Cluff and Chris Lofing will do in the future. They obviously have skill, creativity and desire. I just think they need a better vehicle to show it off. All in all, 2 out of 5 stars. Not the worst of the genre, but certainly not the best.
If you like found footage, check out: 'As Above, So Below', 'Paranormal Entity' or 'Atrocious'
What is 'A Terror Time Out'?
I've always been fascinated by horror films. One of my favorite aspects of them is the way they make me feel, with a single still frame. I have tried to think of a way to share some of my favorite images from some amazing horror films, but randomly posting a picture or series of picture, has no real context or meaning. Instead, I've decided to post the frames and provide a single sentence, describing the film and my star rating of it. This way, you get a concentrated sense of what the film is and why I wanted to share. Hopefully, you find something new, that you've never seen before or maybe just a reminder of the films you already love. Either way, I hope you enjoy 'A Terror Time Out'! Look for it here on the Creepercast every Friday!
Listen
to 'Scarecrow #2' and Read an In-Depth Interview with Bassist Sean
Yseult Here
Only Available
via "White Zombie: It Came from N.Y.C." Boxset, Out June 3
via Numero Group
Including...
5LPs or 3 CDs
108 page
hardcover book
Complete
Shirtography 1985-1990
50 previously
unpublished photographs
...And More
Numero
Group's upcoming White
Zombie: It Came From N.Y.C.
CD/vinyl boxset, the quintessential resurrection of White Zombie's
eternally out-of-print early EPs and LPs, becomes available to the
masses in less than four weeks. With pre-orders going fast, make sure
to order
yours now before they are gone for good.
In
anticipation of the release, White Zombie bassist Sean Yseult
sat down with the Wall Street Journal to reflect on the old
days of the band and share some unheard music. The interview covers
everything from their influences, to how Yseult and Rob Zombie
co-founded the band, how they scraped cash together to press their
early records, and beyond.
As
stated by Wall Street Journal's Michael Calia, "'Scarecrow
#2" rips along with a thundering, droning groove and wailing
vocals, but its improvisational spirit distinguishes it from later,
more slickly produced White Zombie tracks."
In
reference to White Zombie: It Came From N.Y.C. and the
band's experimental ways in their earlier years, Yseult states in the
interview, "We knew exactly what we were doing. That's what
we were going for. There's some really cool stuff in there."
White
Zombie: It Came From N.Y.C.
is the most exhaustive attempt so far to document the band's
wondrously ugly birth. Get reintroduced to White Zombie as New York
noise-rock, a grotesque creation that clawed and threatened its way
to crossover metal glory.
Spread
across five LPs or three compact discs, all 39 tracks on White
Zombie: It Came From N.Y.C. have been remastered by White
Zombie guitarist J. Yuenger himself and packaged alongside the
original lurid artwork. The accompanying 108-page book painstakingly
documents White Zombie's punishing progression through scores
of unpublished photos, period discography, a T-shirtography, and
tales from the terrifying early years that stitch together the sordid
story of a band whose true power eclipsed its mainstream heyday.
If
you missed the official unboxing video posted last week, you can
still check it out here.
What you see inside is just a taste of what you can expect from this
painstakingly-arranged media documentation of White
Zombie's
formative years.
It Came From
N.Y.C. package details:
5LPs or 3 CDs
108 page hardcover
book
20,000 word essay by
Grayson Currin
Flyer gallery
Complete
Shirtography, 1985-1990
50 previously
unpublished photographs
Available on
black, white*, and Toxic Waste Green* vinyl
We at the Creepercast, like most horror genre fanatics, love our horror toys. That's why once a month we will feature a horror genre related toy or toys to get your geek on. This month its all about the FunKo Horror Classics. The best part of this monthly play thing segment, you can click on any of the links provided to purchase the item for yourself and one for each of your friends. All while supporting the Creepercast Blog! What a bargain!
Of course these are not all FunKo has to offer horror fans.
They got POPs...
Mystery Minis...
and so much more!
If you have a collection of FunKo toys share a pic in the comments below!
Italian thrash-metal ambassadors EXTREMA first broke out onto the metal scene in 1985 - regarded to this day as one of the best live acts to ever emerge from their home country. Now,EXTREMA is ready to unleash their latest offering and follow up to 2013's The Seed of Foolishness, entitled The Old School EP, out May 27, 2016 via Punishment 18 Records. Vocalist G.L. Perotti and co. have churned out a classic metal burner featuring five tracks originally written during the band's heyday - primarily unheard as finished recordings until now.
All five tracks were originally written in 1987, shortly after the release of EXTREMA's We Fuckin ' Care EP. Only one of these songs saw the light on an album - "Life" was originally released in 1993 on the band's first full-length album Tension at the Seams. The track has been re-recorded for The Old School EP in addition to tracks the band is known for performing live-only or releasing as raw demos on rare tapes, including "Child Abuse", the instrumental "M.A.S.S.A.C.R.O", "Tribal Scream" and "Carcasses".
In addition to those tracks, The Old School EP will feature two bonus tracks, including live versions of "Life" and Motörhead's "Ace of Spades", both recorded in Rome, Italy.
The Old School EPtrack listing:
01. Life
02. Carcasses (feat. Ralph Salati of Destrage)
03. Tribal Scream
04. Child Abuse
05. M.A.S.S.A.C.R.O. (feat. Bob Capka, formerly of Vicious Rumours)
06. Life (Live in Rome)
07. Ace of Spades (Live in Rome)
The idea came to guitarist Tommy Massara while tidying EXTREMA's audio archives. He began listening to a tape on which there were no notes or text records of any kind.
Massara states, "These were very rough recordings that we planned to put on the album before 1993's Tension at the Seams that instead never materialized, and here they "magically" popped out at me. I was amazed by the speed at which we played even then and I thought it would be fun for us and for the fans if we re-recorded them nearly 30 years later. People get to hear what we did when many of those who follow us now were not even born! It is possible, however, that their parents could have participated in the 'collective massacres ' at the time... if this is not old school, I don't know what is!"
The Old School EP marks the band's first recording session with new drummer Francesco La Rosa, who recently replaced Paul Crimi on drums. It will be clear why his nickname is "Frullo", which means "whipper" in English!
La Rosa will perform with EXTREMA during their EP showcase presentation on May 21stat Legend Club in Milan, Italy.
