A woman named Moa is on vacation in the solitude of a cabin, on a small Island outside of Stockholm. One day when checking her fishing net, an old metal box is stuck in it. She takes it ... See full summary »
With the help of her friends, Emily moves to a remote home to take better care of her brother, Zack who is diagnosed with cerebral palsy. But what they don't know is that the house kept a terrifying secret that will haunt them one by one.
A renegade doctor is shot dead and entombed with his fiendish experiments in the basement of an abandoned wing of a mental hospital. Twenty years later, a mysterious woman is admitted with ... See full summary »
Stephen Gregory Foster
In this "lost slasher film from 1978," a masked killer wages an unrelenting spree of murder, cannibalism, and necrophilia. But when his tortured past comes back to haunt him, he plunges to ... See full summary »
In 1963, Laura and her sister Beth is the sole heirs of an enormous estate, including a mansion, on a small remote island just off the coast. Beth has been unemployed for a long time and is... See full summary »
A black comedy horror film in which six random contestants are put into a game show where they'll face evil clowns, evisceration-happy doctors and wild maniacs. The winner has to survive the terror by being resourceful.
Sarah Joslyn Crowder,
Tony Curtis Blondell,
During the filming of the buried alive scene, the grave that had been dug up was located at the nest of dangerous vespulas and a new grave had to be dug up in haste. See more »
When Marie sneaks into the cabin from one of the back windows to scare off Albin who is trying to unlock the front door and get in, the inside of the cabin is too dark and Marie finds a candle and lights it on with a match. From now on the length of the candle differs in each scene. At first it's long, at the very next scene it becomes a half shorter. Then again it's longer, then again shorter. See more »
Don't Let Go
Written by Samir El Alaoui & Patrick Saxe
Performed by Patrick Saxe
Produced by Samir El Alaoui See more »
This has probably the best mud-blood effects I've ever seen (mud-blood is the modern incarnation of blood that refuses to be red because that's a color and desaturation is all the rage - but in this case there's actual mud which helps). There are really good practical effects and non-stop craziness throughout and yet I still felt nothing.
It's all in service to those who came before. There's no ingenuity or true imagination at work here. It's so indebted to The Evil Dead it forgets to be its own thing and somehow winds up worse as a result. An up the ante riff on The Evil Dead shouldn't just feel like it's going through the motions. I can't quite put my finger on it, but this whole thing is just off in some way and it's all related to that somehow.
There's never a moment that makes your mind jump and heart leap at the sheer unexpectedness, the showmanship, it's just so much blood and splatter and god I hate that that sounds like a bad thing but here it is.
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