- Published on
site update
so many movies ... so little time ...
On this day in 2007 (in the U.S.), Sands Of Oblivion enjoyed its small screen debut. Directed by David Flores from a story by Jeff Coatney and Kevin VanHook, the film starred Morena Baccarin, Adam Baldwin, Victor Webster, and others.
According to our friends at IMDB.com, here's the plot summary:
"An artifact cursed by an Egyptian avenging god is found amongst the props of an old Hollywood film. The curse of the relic unravels when mysterious murders and accidents that happened during the making of the film begin to happen again."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"An artifact cursed by an Egyptian avenging god is found amongst the props of an old Hollywood film. The curse of the relic unravels when mysterious murders and accidents that happened during the making of the film begin to happen again."
-- EZ
From Google.com:
Sands of Oblivion is a 2007 Sci-Fi Channel original television horror-fantasy movie directed by David Flores. [1, 2, 3]
Plot Overview
Cast and Production
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0977663/
[2] https://en.wikipedia.org/wiki/Sands_of_Oblivion
[3] https://www.rottentomatoes.com/m/sands_of_oblivion
[4] https://www.imdb.com/title/tt0977663
[5] https://tv.apple.com/us/movie/sands-of-oblivion/umc.cmc.3etttc1lhbowa1mlt1fpwexun
[6] https://www.primevideo.com/detail/0PPDOL07CY0MTGNR5Y8SR6KI51
[7] https://www.youtube.com/watch?v=KiGFQPxmm8Y
[8] https://www.imdb.com/title/tt0977663/fullcredits/
Sands of Oblivion is a 2007 Sci-Fi Channel original television horror-fantasy movie directed by David Flores. [1, 2, 3]
Plot Overview
- The story provides a fictional explanation for a real historical event: why legendary director Cecil B. DeMille (played by Dan Castellaneta) buried the massive sets of his 1923 epic film The Ten Commandments in the Guadalupe Sand Dunes on the California coast.
- In the movie's lore, a genuine cursed Egyptian artifact trapping the spirit of an avenging god was accidentally mixed into the production's props.
- Decades later, an archaeologist couple uncovers the hidden site, accidentally releasing ancient Egyptian plagues and a jackal-like humanoid deity into modern California. [4, 6, 7]
Cast and Production
- Morena Baccarin as Alice Carter
- Adam Baldwin as Jesse Carter
- Victor Webster as Mark
- George Kennedy as John Tevis
- Richard Kind as Ira
- Dan Castellaneta as Cecil B. DeMille
- Writers: Jeff Coatney and Kevin VanHook [1, 5, 8]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0977663/
[2] https://en.wikipedia.org/wiki/Sands_of_Oblivion
[3] https://www.rottentomatoes.com/m/sands_of_oblivion
[4] https://www.imdb.com/title/tt0977663
[5] https://tv.apple.com/us/movie/sands-of-oblivion/umc.cmc.3etttc1lhbowa1mlt1fpwexun
[6] https://www.primevideo.com/detail/0PPDOL07CY0MTGNR5Y8SR6KI51
[7] https://www.youtube.com/watch?v=KiGFQPxmm8Y
[8] https://www.imdb.com/title/tt0977663/fullcredits/
- Published on
press release
BloodStream will premiere Umbral, a Chilean sci-fi horror vertical series directed and written by Gerson Vega, on August 1, streaming on BloodStream.
The 9-episode science fiction vertical series Umbral is directed by Chilean filmmaker Gerson Vega stars Shirley HeadRoom and Fabiana Espinoza. The story is a surreal nightmare about a man trapped in a dream world controlled by a mysterious entity, the lines between reality and dreams completely blurred.
Produced by David Wing of Echo Cell Collective, the vertical series is designed specifically for mobile viewing. The series is part of BloodStream's expanding roster of vertical horror content.
All 9 episodes of Umbral stream exclusively on BloodStreamtv.com beginning August 1. The series is presented in Spanish.
&Ldquo;Gerson Vega has crafted a sci-fi nightmare that uses the vertical format to pull viewers into a reality that rewrites itself, and we're excited to bring this Chilean series to genre audiences on August 1,” says BloodStream programmer Heidi Honeycutt.
BloodStream is an international streaming service featuring mainstream and underground horror, fantasy, action, thriller, and sci-fi films, including shorts and films you simply cannot find anywhere else.
Trailer: https://youtube.com/shorts/llqUmy2epTU
The 9-episode science fiction vertical series Umbral is directed by Chilean filmmaker Gerson Vega stars Shirley HeadRoom and Fabiana Espinoza. The story is a surreal nightmare about a man trapped in a dream world controlled by a mysterious entity, the lines between reality and dreams completely blurred.
Produced by David Wing of Echo Cell Collective, the vertical series is designed specifically for mobile viewing. The series is part of BloodStream's expanding roster of vertical horror content.
All 9 episodes of Umbral stream exclusively on BloodStreamtv.com beginning August 1. The series is presented in Spanish.
&Ldquo;Gerson Vega has crafted a sci-fi nightmare that uses the vertical format to pull viewers into a reality that rewrites itself, and we're excited to bring this Chilean series to genre audiences on August 1,” says BloodStream programmer Heidi Honeycutt.
BloodStream is an international streaming service featuring mainstream and underground horror, fantasy, action, thriller, and sci-fi films, including shorts and films you simply cannot find anywhere else.
Trailer: https://youtube.com/shorts/llqUmy2epTU
- Published on
(NOTE: The following review will contain minor spoilers necessary for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“When a princess is shrunken by an evil wizard, Sinbad must undertake a quest to an island of monsters to cure her and prevent a war.”
As a young’un, I had an absolutely marvelous introduction to the whole cinematic world of Sinbad.
You see, I grew up in a one-horse town where the only entertainment we had was the local theater. Being a reasonably small city, there just wasn’t enough demand for a picture like 1973’s The Golden Voyage Of Sinbad – the second in what’s basically respected as a Sinbad trilogy (thanks to effects pioneer Ray Harryhausen’s work on them all) although these releases were spaced out by several years – to play for a full week. The theater manager, however, was a pretty big fan of genre projects, so he scheduled a special Saturday matinee one-time performance and promoted it heavily through the school system, hoping that the teachers would encourage their students to check this one out. Well, it worked; and I met Sinbad – theatrically, that is – for the very first time to a packed-out audience of mostly schoolboys. It was a grand adventure played out on the silver screen.
So, I didn’t get the chance to see the first installment – The 7th Voyage Of Sinbad (1958) – until it played on a local ‘Family Classics’ installment I believe broadcast on WGN out of Chicago (though, honestly, it could’ve been another channel). It was a vastly different and somewhat less adventurous story – there’s a bit more set-up than IMDB.com’s plot summary would have you believe – and it starred a different actor in the title role. There’s a third one – 1977’s Sinbad And The Eye Of The Tiger – but all of the action really began with that 7th Voyage; and the sequels felt a bit derivative from it. Regardless, the trilogy was still the kind of project which introduced me to the realms of the Fantastic to which I remain a faithful steward to this day.
Now, Sinbad (as played by Kerwin Mathews) is a bit stoic in 7th Voyage. The script attributed to Ken Kolb and Harryhausen had him somewhat watching some of the plot unfold in the first half: there’s a rescue of the grand wizard Sokurah (Torin Thatcher) from the island of Colossa that sets everything in motion, but the dirty little secret is the magician has been using a youthful genie (Richard Eyer) in a lamp for some of what he’s accomplished. But in a flight away from a giant cyclops intent upon eating everyone in sight, Sinbad and Sokurah lose the lamp; and this eventually leads to the dastardly wizard casting a spell upon our hero’s love interest, Princess Parisa (Kathryn Grant). Once the woman is shrunken to the size of a Barbie doll, he demands a return trip to his island. In order to see his beloved returned to her rightful dimensions, Sinbad has no choice but to agree.
In any quest, it’s at this point the real magic happens; and Harryhausen essentially pioneered the world of stop-motion effects – here dubbed Dynarama – to bring to life anything necessary that would have audiences on the edge of their seats. Yes, there was a cyclops in the opening reel, but that truly only paved the way for the womanly snake creature, giant bird, a dragon, and the sword-fighting skeleton (arguably the highlight of the motion picture) that would follow. Given that this was some of the first time actors and actresses had to do their work opposite creations that would be added in post, there’s some minor clunkiness in spots; and yet it was clear that Harryhausen was doing something special in the shadows and light. Though this technology has largely fallen by the wayside once the revolution of CGI made it looking decidedly primitive, I can assure you that it remains fondly remembered by those of us who experienced it up on the silver screen.
Additionally, I have read that many consider Mathews the absolute best of the theatrical iterations; and I suppose there’s some merit to that. As I said above, I thought it was a bit indifferent or maybe even a bit too stern in 7th Voyage’s earlier moments; but there’s no denying that he fully surrendered to the role once the high adventure took centerstage. Grant is good as his main squeeze; and Thatcher suitably chews scenery when it’s required of him. All in all, it remains a highly regarded spectacle though I’m sure today’s youth would find a handful of the sequences a bit laughable by comparison to modern effects work. That’s perfectly fine … but this old man would still relish the chance to see this one at the cineplex as part of a revival festival. It’s damned enchanted.
The 7th Voyage Of Sinbad (1958) was produced by Columbia Pictures and Morningside Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Sony Pictures. As for the technical specifications? Wow. Just wow. While I’m no trained video expert, I can still assure readers that the provided sights and sounds look fabulous in this 4K upgrade: yes, the high definition might show a weakness of the effects trickery here and there, but it still looks damn good. Lastly, if you’re looking for special features? This is a two-disc release; and the 4K disc is thin as there’s only a trailer and a good Harryhausen feature. However, the Blu-ray disc is loaded with stuff – a commentary, making of bits, and so much more – that I’ve only just begun wading through it. If you’ve going to release a damned enchanted movie, then you’d better deliver damned enchanted extras … which this does.
Highly Recommended.
Look, kiddos, I’m not going to try to convince any of you that The 7th Voyage Of Sinbad (1958) deserves a place in your video collection beside Avatar, the Avengers, or anything else that tickles your modern fancy … but I still feel it important for you to know and appreciate that it’s works like 7th Voyage where your modern spectacles truly began. On that front, this highly-praised film deserves a bit of your attention if only for you to experience it once. See what the craftsmen were accomplishing back in the day – you still might marvel at it – and maybe you’ll appreciate how far we’ve come in so short a time. Sinbad rules the seas, and he really had no equal back in his day.
In the interests of fairness, I’m pleased to disclose that the fine folks at Sony Pictures (via Allied Vaughn) provided me with a complimentary 4K Ultra HD Blu-ray of The 7th Voyage Of Sinbad (1958) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“When a princess is shrunken by an evil wizard, Sinbad must undertake a quest to an island of monsters to cure her and prevent a war.”
As a young’un, I had an absolutely marvelous introduction to the whole cinematic world of Sinbad.
You see, I grew up in a one-horse town where the only entertainment we had was the local theater. Being a reasonably small city, there just wasn’t enough demand for a picture like 1973’s The Golden Voyage Of Sinbad – the second in what’s basically respected as a Sinbad trilogy (thanks to effects pioneer Ray Harryhausen’s work on them all) although these releases were spaced out by several years – to play for a full week. The theater manager, however, was a pretty big fan of genre projects, so he scheduled a special Saturday matinee one-time performance and promoted it heavily through the school system, hoping that the teachers would encourage their students to check this one out. Well, it worked; and I met Sinbad – theatrically, that is – for the very first time to a packed-out audience of mostly schoolboys. It was a grand adventure played out on the silver screen.
So, I didn’t get the chance to see the first installment – The 7th Voyage Of Sinbad (1958) – until it played on a local ‘Family Classics’ installment I believe broadcast on WGN out of Chicago (though, honestly, it could’ve been another channel). It was a vastly different and somewhat less adventurous story – there’s a bit more set-up than IMDB.com’s plot summary would have you believe – and it starred a different actor in the title role. There’s a third one – 1977’s Sinbad And The Eye Of The Tiger – but all of the action really began with that 7th Voyage; and the sequels felt a bit derivative from it. Regardless, the trilogy was still the kind of project which introduced me to the realms of the Fantastic to which I remain a faithful steward to this day.
Now, Sinbad (as played by Kerwin Mathews) is a bit stoic in 7th Voyage. The script attributed to Ken Kolb and Harryhausen had him somewhat watching some of the plot unfold in the first half: there’s a rescue of the grand wizard Sokurah (Torin Thatcher) from the island of Colossa that sets everything in motion, but the dirty little secret is the magician has been using a youthful genie (Richard Eyer) in a lamp for some of what he’s accomplished. But in a flight away from a giant cyclops intent upon eating everyone in sight, Sinbad and Sokurah lose the lamp; and this eventually leads to the dastardly wizard casting a spell upon our hero’s love interest, Princess Parisa (Kathryn Grant). Once the woman is shrunken to the size of a Barbie doll, he demands a return trip to his island. In order to see his beloved returned to her rightful dimensions, Sinbad has no choice but to agree.
In any quest, it’s at this point the real magic happens; and Harryhausen essentially pioneered the world of stop-motion effects – here dubbed Dynarama – to bring to life anything necessary that would have audiences on the edge of their seats. Yes, there was a cyclops in the opening reel, but that truly only paved the way for the womanly snake creature, giant bird, a dragon, and the sword-fighting skeleton (arguably the highlight of the motion picture) that would follow. Given that this was some of the first time actors and actresses had to do their work opposite creations that would be added in post, there’s some minor clunkiness in spots; and yet it was clear that Harryhausen was doing something special in the shadows and light. Though this technology has largely fallen by the wayside once the revolution of CGI made it looking decidedly primitive, I can assure you that it remains fondly remembered by those of us who experienced it up on the silver screen.
Additionally, I have read that many consider Mathews the absolute best of the theatrical iterations; and I suppose there’s some merit to that. As I said above, I thought it was a bit indifferent or maybe even a bit too stern in 7th Voyage’s earlier moments; but there’s no denying that he fully surrendered to the role once the high adventure took centerstage. Grant is good as his main squeeze; and Thatcher suitably chews scenery when it’s required of him. All in all, it remains a highly regarded spectacle though I’m sure today’s youth would find a handful of the sequences a bit laughable by comparison to modern effects work. That’s perfectly fine … but this old man would still relish the chance to see this one at the cineplex as part of a revival festival. It’s damned enchanted.
The 7th Voyage Of Sinbad (1958) was produced by Columbia Pictures and Morningside Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Sony Pictures. As for the technical specifications? Wow. Just wow. While I’m no trained video expert, I can still assure readers that the provided sights and sounds look fabulous in this 4K upgrade: yes, the high definition might show a weakness of the effects trickery here and there, but it still looks damn good. Lastly, if you’re looking for special features? This is a two-disc release; and the 4K disc is thin as there’s only a trailer and a good Harryhausen feature. However, the Blu-ray disc is loaded with stuff – a commentary, making of bits, and so much more – that I’ve only just begun wading through it. If you’ve going to release a damned enchanted movie, then you’d better deliver damned enchanted extras … which this does.
Highly Recommended.
Look, kiddos, I’m not going to try to convince any of you that The 7th Voyage Of Sinbad (1958) deserves a place in your video collection beside Avatar, the Avengers, or anything else that tickles your modern fancy … but I still feel it important for you to know and appreciate that it’s works like 7th Voyage where your modern spectacles truly began. On that front, this highly-praised film deserves a bit of your attention if only for you to experience it once. See what the craftsmen were accomplishing back in the day – you still might marvel at it – and maybe you’ll appreciate how far we’ve come in so short a time. Sinbad rules the seas, and he really had no equal back in his day.
In the interests of fairness, I’m pleased to disclose that the fine folks at Sony Pictures (via Allied Vaughn) provided me with a complimentary 4K Ultra HD Blu-ray of The 7th Voyage Of Sinbad (1958) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
in memoriam
Alas, folks, the wide, wide world of TV's Babylon 5 has to say goodbye to another visitor.
IMDB.com is reporting the passing of actor Kent Broadhurst. As I often mention, a great number of these character actors may not have the name and face to be immediately recognized; and this one took me a moment. Honestly, I recall him from a role in something non-genre specific, but a quick rundown of his professional background shows that he had two appearances to Babylon 5 across its storied run. He also booked some small roles aboard two Stephen King adaptations: 1985's Silver Bullet and 1993's The Dark Half. Interestingly enough, he's also credited as one of the big voices aboard a 2006 audio adaptation to Frank Herbert's Dune novel.
Our warmest prayers are extended to the family, friends, and fans of Kent Broadhurst.
May he forever rest in peace ...
EZ
IMDB.com is reporting the passing of actor Kent Broadhurst. As I often mention, a great number of these character actors may not have the name and face to be immediately recognized; and this one took me a moment. Honestly, I recall him from a role in something non-genre specific, but a quick rundown of his professional background shows that he had two appearances to Babylon 5 across its storied run. He also booked some small roles aboard two Stephen King adaptations: 1985's Silver Bullet and 1993's The Dark Half. Interestingly enough, he's also credited as one of the big voices aboard a 2006 audio adaptation to Frank Herbert's Dune novel.
Our warmest prayers are extended to the family, friends, and fans of Kent Broadhurst.
May he forever rest in peace ...
EZ
- Published on
press release
Directed by Adam O'Brien (MOM), BURY THE DEVIL unfolds in a single continuous shot and real-time narrative, following a nurse trapped in an isolated home with a dementia patient as a demonic presence threatens everyone inside.
Synopsis: When her dementia patient begins behaving strangely, a nurse suspects things are not what they seem. As the night unfolds, she soon discovers she is trapped with a demonic presence seeping through the cracks of the old home.
Directed by: Adam O'Brien
Written by: John Petrizzi, Brad Hodson
Producers: Philip Kalin-Hajdu, Benoit Beaulieu, Adam O’Brien
Cast: Dawn Ford, Emmanuelle Lussier Martinez, Bill Rowat
Synopsis: When her dementia patient begins behaving strangely, a nurse suspects things are not what they seem. As the night unfolds, she soon discovers she is trapped with a demonic presence seeping through the cracks of the old home.
Directed by: Adam O'Brien
Written by: John Petrizzi, Brad Hodson
Producers: Philip Kalin-Hajdu, Benoit Beaulieu, Adam O’Brien
Cast: Dawn Ford, Emmanuelle Lussier Martinez, Bill Rowat
About Brainstorm Media (from their website):
Since 1995, Brainstorm Media has been working at the forefront of independent film distribution, embracing new platforms early and building long-standing relationships across an evolving landscape. Brainstorm takes a hands-on, collaborative approach to distribution. Its business is built around customized release, marketing, and publicity strategies that combine traditional theatrical opportunities with targeted, audience-driven campaigns designed for today’s viewing habits.
Since 1995, Brainstorm Media has been working at the forefront of independent film distribution, embracing new platforms early and building long-standing relationships across an evolving landscape. Brainstorm takes a hands-on, collaborative approach to distribution. Its business is built around customized release, marketing, and publicity strategies that combine traditional theatrical opportunities with targeted, audience-driven campaigns designed for today’s viewing habits.
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A blood-covered woman is found wandering at night with no memory of what happened. Under interrogation, her fragmented story reveals visions and encounters where reality merges with the monstrous.”
You’ll have to take my word for this: Lenskeeper is most likely going to go down in cult film circles as an acquired taste.
To my surprise, I’ve found very little about the release online; and I say this because I’ve read a few suggestions that it’s been screened (to modest acclaim) on the film festival circuit. In those cases in the past, I’ve generally been able to find a handful of reviews and/or cast or creative interviews when I’ve felt the need to know a bit more about the production. However, this one is only mentioned in passing, and I’m not seeing a great deal of praise though a good handful of smilers express appreciation for what writer and director Luca Canale Brucculeri accomplishes visually. I’d concur minimally that some bits and pieces do look and sound interesting (at best), but overall Lenskeeper feels more like an homage to what’s been tried before in Horror’s elitist circles and – even then – not very good deference.
At the outset, Brucculeri’s script relies heavily on two different narrative techniques: begin with a flash of curiously gothic visuals only then to segue way into the standard police procedural where two detectives try to uncover ‘what went wrong’ – via flashback – with the blood-soaked young physician Jane Doe (played effectively by Diamara Ferrero) when she turns up wandering the streets in confusion. What follows is a bit too conveniently recovered (there are whole sequences wherein she wasn’t even in the room to witness a great deal of what she recalls), so Lenskeeper winds up feeling far too much like a screenwriter’s creation that definitely needed another pair of eyes than Brucculeri’s to identify the small onslaught of problems. And there are a few.
What does work therein are some of the obvious callbacks to just about any film that’s dabbled in the works of H.P. Lovecraft. One sequence definitely reminds me of a few things accomplished in Hellraiser (1987) under Clive Barker’s watchful management. The chief difference here is that where projects like Stuart Gordon’s From Beyond (1986) went all-in with some direct Body Horror, Brucculeri really only dabbles with it, almost as if he’s flirting with his audience, hoping that they might not remember how much of what he’s doing has been done before and much better. There’s nothing wrong with revisiting such graphic details, but why go less when the years of technology between this and then should have you going bigger?
Otherwise, the ensemble of actors and actresses similarly work together well enough to harken back to times when such cohesion was accomplished with greater rewards in other films. The police procedural works as designed, but the two police officers are both a bit dour in the way they handle themselves with no spark whatsoever between the two. All of this builds to a conclusion that doesn’t mean much without a follow-up or sequel unless it’s now acceptable to just end on a note that suggests the baton has been passed from one generation to the next without proving anyone is really picking up the mantle. I guess – as is the case in life – only time will tell.
Undoubtedly, a shorter running-time would’ve helped Lenskeeper and its audience stay focused. Too many scenes with a single camera take stretch on ridiculously long, butchering what modest impact the sequence had to begin with if not suggesting that we’re only lingering on because someone forgot his or her line. It’s been said that the best chillers rarely screen for over ninety minutes; and this one – at an ungodly 110 minutes – is just too damn lengthy.
Lenskeeper (2025) – aka Lenskeeper: Alle porte dell’abisso – was produced by Sancapross Movie and May Film Production. DVD distribution (for this particular release) has been handled by the fine folks at Cosmic Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that – for the most part – the provided sights and sounds are good: a few sequences rely heavily on some quick flashing visuals backed up by some curious sounds, and one or two of them felt a bit clumsy for my tastes. Lastly, if you’re looking for special features? This is a bare bones release – meaning there’s nothing extra available – so you’ll have to look elsewhere for those tidbits.
Alas … only Mildly Recommended.
Certainly, I won’t begrudge any storyteller for trying to tap into some fertile territory when it comes to crafting homages to some of what’s come before; and yet the problem with Lenskeeper (2025) almost lies entirely with writer/director Brucculeri’s technique. Long and relatively dry takes need to thematically mean something more than they do here; and the lethargic pacing never allows even its small ensemble of characters to do all that much with the limited material they’re given. Though a few sequences obviously work very well and there’s nothing much wrong with the narrative set-up, there otherwise just isn’t enough substance here for viewers to ‘latch onto’ here other than the allusions to H.P. Lovecraft and Clive Barker (the most obvious ones) and, probably, a handful of giallo’s better auteurs. A definite slog although some may find it more entertaining than I did.
In the interest of fairness, I’m pleased to disclose that the fine folks at Cosmic Films (via Allied Vaughn) provided me with a complimentary Blu-ray of Lenskeeper (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“A blood-covered woman is found wandering at night with no memory of what happened. Under interrogation, her fragmented story reveals visions and encounters where reality merges with the monstrous.”
You’ll have to take my word for this: Lenskeeper is most likely going to go down in cult film circles as an acquired taste.
To my surprise, I’ve found very little about the release online; and I say this because I’ve read a few suggestions that it’s been screened (to modest acclaim) on the film festival circuit. In those cases in the past, I’ve generally been able to find a handful of reviews and/or cast or creative interviews when I’ve felt the need to know a bit more about the production. However, this one is only mentioned in passing, and I’m not seeing a great deal of praise though a good handful of smilers express appreciation for what writer and director Luca Canale Brucculeri accomplishes visually. I’d concur minimally that some bits and pieces do look and sound interesting (at best), but overall Lenskeeper feels more like an homage to what’s been tried before in Horror’s elitist circles and – even then – not very good deference.
At the outset, Brucculeri’s script relies heavily on two different narrative techniques: begin with a flash of curiously gothic visuals only then to segue way into the standard police procedural where two detectives try to uncover ‘what went wrong’ – via flashback – with the blood-soaked young physician Jane Doe (played effectively by Diamara Ferrero) when she turns up wandering the streets in confusion. What follows is a bit too conveniently recovered (there are whole sequences wherein she wasn’t even in the room to witness a great deal of what she recalls), so Lenskeeper winds up feeling far too much like a screenwriter’s creation that definitely needed another pair of eyes than Brucculeri’s to identify the small onslaught of problems. And there are a few.
What does work therein are some of the obvious callbacks to just about any film that’s dabbled in the works of H.P. Lovecraft. One sequence definitely reminds me of a few things accomplished in Hellraiser (1987) under Clive Barker’s watchful management. The chief difference here is that where projects like Stuart Gordon’s From Beyond (1986) went all-in with some direct Body Horror, Brucculeri really only dabbles with it, almost as if he’s flirting with his audience, hoping that they might not remember how much of what he’s doing has been done before and much better. There’s nothing wrong with revisiting such graphic details, but why go less when the years of technology between this and then should have you going bigger?
Otherwise, the ensemble of actors and actresses similarly work together well enough to harken back to times when such cohesion was accomplished with greater rewards in other films. The police procedural works as designed, but the two police officers are both a bit dour in the way they handle themselves with no spark whatsoever between the two. All of this builds to a conclusion that doesn’t mean much without a follow-up or sequel unless it’s now acceptable to just end on a note that suggests the baton has been passed from one generation to the next without proving anyone is really picking up the mantle. I guess – as is the case in life – only time will tell.
Undoubtedly, a shorter running-time would’ve helped Lenskeeper and its audience stay focused. Too many scenes with a single camera take stretch on ridiculously long, butchering what modest impact the sequence had to begin with if not suggesting that we’re only lingering on because someone forgot his or her line. It’s been said that the best chillers rarely screen for over ninety minutes; and this one – at an ungodly 110 minutes – is just too damn lengthy.
Lenskeeper (2025) – aka Lenskeeper: Alle porte dell’abisso – was produced by Sancapross Movie and May Film Production. DVD distribution (for this particular release) has been handled by the fine folks at Cosmic Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that – for the most part – the provided sights and sounds are good: a few sequences rely heavily on some quick flashing visuals backed up by some curious sounds, and one or two of them felt a bit clumsy for my tastes. Lastly, if you’re looking for special features? This is a bare bones release – meaning there’s nothing extra available – so you’ll have to look elsewhere for those tidbits.
Alas … only Mildly Recommended.
Certainly, I won’t begrudge any storyteller for trying to tap into some fertile territory when it comes to crafting homages to some of what’s come before; and yet the problem with Lenskeeper (2025) almost lies entirely with writer/director Brucculeri’s technique. Long and relatively dry takes need to thematically mean something more than they do here; and the lethargic pacing never allows even its small ensemble of characters to do all that much with the limited material they’re given. Though a few sequences obviously work very well and there’s nothing much wrong with the narrative set-up, there otherwise just isn’t enough substance here for viewers to ‘latch onto’ here other than the allusions to H.P. Lovecraft and Clive Barker (the most obvious ones) and, probably, a handful of giallo’s better auteurs. A definite slog although some may find it more entertaining than I did.
In the interest of fairness, I’m pleased to disclose that the fine folks at Cosmic Films (via Allied Vaughn) provided me with a complimentary Blu-ray of Lenskeeper (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
press release
ONCE THEY START KILLING
THEY WILL NOT STOP
Fresh off its explosive reception at San Diego Comic-Con, watch the new trailer for Adam Wingard's freakiest, most ferocious slasher yet — before ONSLAUGHT unleashes in IMAX on September 4.
Starring Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, with Drew Starkey and Rebecca Hall.
Starring Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, with Drew Starkey and Rebecca Hall.
When a rogue squad of genetically engineered super soldiers break loose in the desert, a badass Army sniper must unleash hell to protect her young daughter.
STARRING
Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, Drew Starkey, Rebecca Hall
DIRECTED BY
Adam Wingard
SCREENPLAY BY
Simon Barrett
STORY BY
Adam Wingard & Simon Barrett
STARRING
Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, Drew Starkey, Rebecca Hall
DIRECTED BY
Adam Wingard
SCREENPLAY BY
Simon Barrett
STORY BY
Adam Wingard & Simon Barrett
— ONLY IN THEATERS SEPTEMBER 4 --
- Published on
in memoriam
Ach, folks: another great genre storyteller has left us.
Over the weekend, I saw the news regarding the passage of director Chuck Russell; and -- despite the fact that he hasn't done all that much in the last decade or so -- I can assure readers that he was definitely a force to be reckoned with. In fact, the guy got his start on a pretty big theatrical production -- 1987's A Nightmare On Elm Street 3: Dream Warriors -- and just got bigger and bigger and bigger along the way, working with some of the industry's biggest names at the time. For of you too young to know this, Dream Warriors was pretty big for its time and place in the whole Elm Street franchise -- finally pitting the nefarious Freddy Krueger against a veritable team of 'warriors' who could kinda/sorta hold their own against his powers -- and there are some who might even suggest that it was the film series' creative high point. Whatever the truth might be, the flick definitely positioned Russell as a mover and shaker to watch; and the guy definitely went to work on projects that fans embraced.
With the reporting announcing the storyteller's demise, a good number of pundits went to bat arguing over which of Russell's projects was his best; and -- for what this is worth -- the critical consensus seemed to congeal around 1988's The Blob, a somewhat loose remake of the 1958 original that helped cement Steve McQueen on Hollywood's radar. I recall seeing this Blob in theaters back in the day; and while I don't think I was particularly enamored with the story (which Russell also wrote) I did love the project's overall aesthetic. The man definitely brought the gelatinous invader into the modern era -- so much so that one argues how the franchise hasn't been yet tapped for an even bigger and better upgrade -- but maybe the Tinseltown Gods wish to leave it as it is with Russell's reputation firmly ensconsed in the I.P. The picture did score some accolades from the Saturn Awards and performed favorably on the film festival circuit.
1994 saw the director teaming up with Jim Carrey at the height of his zaniness for the adaptation of the Dark Horse superhero The Mask -- a tremendous box office hit -- and, in 1996, Russell and Arnold Schwarzenegger were a pair who delivered Eraser to the cineplexes. While there were a few more additions, I think that period between 1987 and 1996 was truly the man's zeitgeist; though I'd be remiss if I failed to mention that he also deserves recognition for working on the script for 1984's popular Dreamscape with Dennis Quaid and Max von Sydow.
Our warmest prayers are extended to the family, friends, and fans of Chuck Russell.
May he rest in peace ...
-- EZ
Over the weekend, I saw the news regarding the passage of director Chuck Russell; and -- despite the fact that he hasn't done all that much in the last decade or so -- I can assure readers that he was definitely a force to be reckoned with. In fact, the guy got his start on a pretty big theatrical production -- 1987's A Nightmare On Elm Street 3: Dream Warriors -- and just got bigger and bigger and bigger along the way, working with some of the industry's biggest names at the time. For of you too young to know this, Dream Warriors was pretty big for its time and place in the whole Elm Street franchise -- finally pitting the nefarious Freddy Krueger against a veritable team of 'warriors' who could kinda/sorta hold their own against his powers -- and there are some who might even suggest that it was the film series' creative high point. Whatever the truth might be, the flick definitely positioned Russell as a mover and shaker to watch; and the guy definitely went to work on projects that fans embraced.
With the reporting announcing the storyteller's demise, a good number of pundits went to bat arguing over which of Russell's projects was his best; and -- for what this is worth -- the critical consensus seemed to congeal around 1988's The Blob, a somewhat loose remake of the 1958 original that helped cement Steve McQueen on Hollywood's radar. I recall seeing this Blob in theaters back in the day; and while I don't think I was particularly enamored with the story (which Russell also wrote) I did love the project's overall aesthetic. The man definitely brought the gelatinous invader into the modern era -- so much so that one argues how the franchise hasn't been yet tapped for an even bigger and better upgrade -- but maybe the Tinseltown Gods wish to leave it as it is with Russell's reputation firmly ensconsed in the I.P. The picture did score some accolades from the Saturn Awards and performed favorably on the film festival circuit.
1994 saw the director teaming up with Jim Carrey at the height of his zaniness for the adaptation of the Dark Horse superhero The Mask -- a tremendous box office hit -- and, in 1996, Russell and Arnold Schwarzenegger were a pair who delivered Eraser to the cineplexes. While there were a few more additions, I think that period between 1987 and 1996 was truly the man's zeitgeist; though I'd be remiss if I failed to mention that he also deserves recognition for working on the script for 1984's popular Dreamscape with Dennis Quaid and Max von Sydow.
Our warmest prayers are extended to the family, friends, and fans of Chuck Russell.
May he rest in peace ...
-- EZ
- Published on
press release
Los Angeles, CA – July 22, 2026 - The Horror Collective and BloodStream will release Brendan Rudnicki's supernatural horror Evil Follows on Tuesday, August 4, with an exclusive premiere on BloodStream alongside its TVOD debut.
Written and directed by Brendan Rudnicki, Evil Follows is a chilling demonic-possession horror film steeped in folklore. A forgotten relic unleashes an ancient evil when Sarah opens a mysterious dybbuk box, inviting a relentless spirit into her life. As the possession grows more violent and reality begins to unravel, her husband races to uncover the box's cursed origins with the help of a renowned spiritualist. But defeating the entity will demand impossible sacrifices - and every moment brings Sarah closer to becoming its permanent vessel.
"After working with numerous distributors over the years, I continue coming back to Studio Dome and The Horror Collective," says filmmaker Brendan Rudnicki. "Their communication, transparency, and the insight they provide through the Studio Dome dashboard are unmatched. More importantly, they genuinely care about independent horror and the filmmakers behind it. It's always a pleasure working with Shaked and the entire team, and I'm excited to continue building our partnership with future releases."
"We’ve worked with Brendan on releasing a number of his previous films," says Shaked Berenson, CEO of BloodStream and The Horror Collective, "and we’re excited to continue to work with him on EVIL FOLLOWS. His films have everything that horror fans want; he’s the real deal."
The Horror Collective is a leading independent genre label dedicated to championing bold horror from emerging and established filmmakers around the world. BloodStream, the company's dedicated streaming platform, showcases a curated library of horror, cult cinema, thrillers, and exclusive premieres, connecting genre fans with the best in independent and mainstream horror.
Written and directed by Brendan Rudnicki, Evil Follows is a chilling demonic-possession horror film steeped in folklore. A forgotten relic unleashes an ancient evil when Sarah opens a mysterious dybbuk box, inviting a relentless spirit into her life. As the possession grows more violent and reality begins to unravel, her husband races to uncover the box's cursed origins with the help of a renowned spiritualist. But defeating the entity will demand impossible sacrifices - and every moment brings Sarah closer to becoming its permanent vessel.
"After working with numerous distributors over the years, I continue coming back to Studio Dome and The Horror Collective," says filmmaker Brendan Rudnicki. "Their communication, transparency, and the insight they provide through the Studio Dome dashboard are unmatched. More importantly, they genuinely care about independent horror and the filmmakers behind it. It's always a pleasure working with Shaked and the entire team, and I'm excited to continue building our partnership with future releases."
"We’ve worked with Brendan on releasing a number of his previous films," says Shaked Berenson, CEO of BloodStream and The Horror Collective, "and we’re excited to continue to work with him on EVIL FOLLOWS. His films have everything that horror fans want; he’s the real deal."
The Horror Collective is a leading independent genre label dedicated to championing bold horror from emerging and established filmmakers around the world. BloodStream, the company's dedicated streaming platform, showcases a curated library of horror, cult cinema, thrillers, and exclusive premieres, connecting genre fans with the best in independent and mainstream horror.
- Published on
press release
Violent, confrontational, and shockingly realistic, THE TEXAS CHAIN SAW MASSACRE terrified audiences in a way never thought possible when it was unleashed on the politically and socially tumultuous America of the 1970s. Facing a storm of controversy, censorship, and outcry throughout its troubled release, this masterpiece of horror has stood the test of time to become a landmark motion picture and cultural milestone.
TEXAS CHAIN SAW DAY returns on August 18, commemorating the day of the film’s real events.
TEXAS CHAIN SAW DAY returns on August 18, commemorating the day of the film’s real events.
About Fathom Entertainment:
Fathom Entertainment is the leading theatrical specialty content distributor in the theatrical space and is widely recognized as one of the top content providers to movie theatres across North America and around the globe.
Fathom Entertainment is the leading theatrical specialty content distributor in the theatrical space and is widely recognized as one of the top content providers to movie theatres across North America and around the globe.