- 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 woman realizes her daughter was born to kill.”
I offer the following statement up front not so much as a reaction to the film’s quality (or lack thereof) but as an honest statement of fact: 1956’s The Bad Seed is one of those rare gems that deserves to be seen chiefly because it was one of the earliest pictures to explore the whole idea that not all kids are born the same. In fact, some are born downright evil – I said what I said – and Seed’s script from John Lee Mahin, Maxwell Anderson, and William March stays true-to-form throughout in its examination of the lovable but deadly little miss Rhoda Penmark (played by Patty McCormack) … a ‘bad seed’ if ever there were.
For those entirely unaware, ‘bad seed’ is what we call a person who is entirely corrupted by evil. We don’t know exactly where it comes from (in some cases), nor do we know why such a flawed person would remain committed to such a course of action. But at every opportunity, the bad seed shows himself (or, in this case, herself) to be one of low moral character even though he might be perceived as a bit angelic by those who don’t see the consequences of his actions. Because he functions in such a duplicitous way, he often escapes punishment for his actions; and – without a doubt – we’ve all come across such a person in our lives though we may not realize it in real time.
Rhoda is one such villain. Though she’s presented here superficially as a polite young woman – never dresses like a tomboy, always with ponytails or delivering curtsies to her elders – the truth is that she’s a core of pure menace. Not long after the film begins, audiences learn very quickly how far she’s willing to go – to commit murder – for the merest of motivations. Naturally, this li’l charlatan wasn’t about to lose her private school’s penmanship award, and Claude Daigle finds himself dead at the bottom of the pond just because he was better equipped to cross his T’s and dot his I’s.
Of course, there’s a bit more to Rhoda’s depravity at work here – mind you, young Claude isn’t her first rodeo – but there’s no need for me to spoil so much of an audience’s fun. Whenever her mom Christine (Nancy Kelly) is watching, she’s on her best behavior; but when Mommie Dearest’s back is turned, viewers are treated to what a portrait of sweet manipulation she can be. Yes, Claude isn’t the only victim sent into the hereafter in all of this; but, thankfully, this devil-in-the-making meets her own maker when Mother Nature makes her call in the closing scene. It might make you chuckle, but you’ll likely be glad the monster was finally dispatched.
From what I understand from the commentary track and a bit of reading, the script’s central argument of nature versus nurture was in flux at the time of Seed’s original development. For years, scientists and behaviorist specialists didn’t accept the premise that anyone could be evil since birth, citing that environmental factors alone prohibited such conduct would only take root if it were learned by observation and reinforcement. While the ultimate verdict on that question may still be out under debate, Hollywood censorship also forced director Mervyn LeRoy and his writers to avoid depicting Rhoda entirely as an unrepentant sinner who escapes the wrath of God much less a good paddling from her parents. There’s a bit of trickery provided just after the film’s initial fade-to-black wherein Rhoda finally receives the spanking she so desperately needed; and it’s more than a bit laughable considering everything the young girl nearly gets away with.
Perhaps this is why Seed has long held a bit of a ‘camp classic’ reputation amongst so many. Besides chucking a great degree of melodrama into the script – along with a few scenes that serve as little more than exposition dumps to cast the proper context on the story being told (as if such were needed) – the film benefits greatly from a massive amount of overacting. Rhoda chews scenery like she’s a Godfather saga extra. Henry Jones – as the building’s resident handyman – comes off more like a Shakespearean Iago, trying to both twist the young girl’s knickers (figuratively, of course) to rile her up whilst being a ‘voice of reason’ on behalf of the audience. And I dare you to find a more perplexed Mommie Dumbest than Kelly’s Christine: she ulcerates over whether or not what’s happening is even existentially possible, searching for scientific evidence from every outlet before she’ll cast judgment on the daughter she raised.
Still, there’s absolutely no denying the roots that took place in entertainment culture with the twin bill of Kelly and McCormack as the flawed mother/daughter pairing. Watching them spar will likely remind viewers of the so many other times they’ve seen a ‘bad seed’ on film or in reality. Sure, there’s a bit of cringe with it – I did warn you this is melodrama – but Seed is the kind of thing the big screen has always done well. It’s bigger than life. It’s bolder than breath. It’s a rare sight to see that deserves to be devoured at least once … and then pray it’s the only seed to grow on your path through life.
The Bad Seed (1956) was produced by Warner Bros. and Mervyn LeRoy Productions, Inc. DVD distribution (for this particular release) has been coordinated by the fine folks at the Warner Archive. As for the technical specifications? While I’m no trained video expert, I can assure readers that the provided sights and sounds are pretty exceptional throughout: there’s one sequence near the ending that’s a bit grainy, but I suspect that’s owed to a flaw from the source material. Lastly, if you’re looking for special features? Along with the original theatrical trailer, the disc boasts a ‘look-back’ interview with Patty McCormack as well as an audio commentary that largely serves as a long, protracted interview with her with occasional observations about the process of making the films along with a few behind-the-scenes bits with her co-stars. It’s a good collection for fans of the original film.
I’ve often said that – for those of us raised on theater – it’s reasonably easy to spot something that began life there and then transitioned to the silver screen; and 1956’s The Bad Seed – while a bit hammy and predictable – is precisely the kind of property I’m talking about. Nearly every scene or sequence (spare a few) feels like it was a bit overly speechified in order to give that particular actor or actress a key scene; so – as adaptations go – this one wasn’t quite different enough to make me see it as anything other than something that would’ve been done better at the local (live) theater. Don’t get me wrong: it’s perfectly acceptable entertainment, but the central story – namely an overwrought melodrama of a mother who can’t quite see the truth right in front of her face – rings more as a dramatic invention than it does anything else. A noble effort – one that has inspired countless copies – and deserves to be scene at least once by all.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of The Bad Seed (1956) 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 woman realizes her daughter was born to kill.”
I offer the following statement up front not so much as a reaction to the film’s quality (or lack thereof) but as an honest statement of fact: 1956’s The Bad Seed is one of those rare gems that deserves to be seen chiefly because it was one of the earliest pictures to explore the whole idea that not all kids are born the same. In fact, some are born downright evil – I said what I said – and Seed’s script from John Lee Mahin, Maxwell Anderson, and William March stays true-to-form throughout in its examination of the lovable but deadly little miss Rhoda Penmark (played by Patty McCormack) … a ‘bad seed’ if ever there were.
For those entirely unaware, ‘bad seed’ is what we call a person who is entirely corrupted by evil. We don’t know exactly where it comes from (in some cases), nor do we know why such a flawed person would remain committed to such a course of action. But at every opportunity, the bad seed shows himself (or, in this case, herself) to be one of low moral character even though he might be perceived as a bit angelic by those who don’t see the consequences of his actions. Because he functions in such a duplicitous way, he often escapes punishment for his actions; and – without a doubt – we’ve all come across such a person in our lives though we may not realize it in real time.
Rhoda is one such villain. Though she’s presented here superficially as a polite young woman – never dresses like a tomboy, always with ponytails or delivering curtsies to her elders – the truth is that she’s a core of pure menace. Not long after the film begins, audiences learn very quickly how far she’s willing to go – to commit murder – for the merest of motivations. Naturally, this li’l charlatan wasn’t about to lose her private school’s penmanship award, and Claude Daigle finds himself dead at the bottom of the pond just because he was better equipped to cross his T’s and dot his I’s.
Of course, there’s a bit more to Rhoda’s depravity at work here – mind you, young Claude isn’t her first rodeo – but there’s no need for me to spoil so much of an audience’s fun. Whenever her mom Christine (Nancy Kelly) is watching, she’s on her best behavior; but when Mommie Dearest’s back is turned, viewers are treated to what a portrait of sweet manipulation she can be. Yes, Claude isn’t the only victim sent into the hereafter in all of this; but, thankfully, this devil-in-the-making meets her own maker when Mother Nature makes her call in the closing scene. It might make you chuckle, but you’ll likely be glad the monster was finally dispatched.
From what I understand from the commentary track and a bit of reading, the script’s central argument of nature versus nurture was in flux at the time of Seed’s original development. For years, scientists and behaviorist specialists didn’t accept the premise that anyone could be evil since birth, citing that environmental factors alone prohibited such conduct would only take root if it were learned by observation and reinforcement. While the ultimate verdict on that question may still be out under debate, Hollywood censorship also forced director Mervyn LeRoy and his writers to avoid depicting Rhoda entirely as an unrepentant sinner who escapes the wrath of God much less a good paddling from her parents. There’s a bit of trickery provided just after the film’s initial fade-to-black wherein Rhoda finally receives the spanking she so desperately needed; and it’s more than a bit laughable considering everything the young girl nearly gets away with.
Perhaps this is why Seed has long held a bit of a ‘camp classic’ reputation amongst so many. Besides chucking a great degree of melodrama into the script – along with a few scenes that serve as little more than exposition dumps to cast the proper context on the story being told (as if such were needed) – the film benefits greatly from a massive amount of overacting. Rhoda chews scenery like she’s a Godfather saga extra. Henry Jones – as the building’s resident handyman – comes off more like a Shakespearean Iago, trying to both twist the young girl’s knickers (figuratively, of course) to rile her up whilst being a ‘voice of reason’ on behalf of the audience. And I dare you to find a more perplexed Mommie Dumbest than Kelly’s Christine: she ulcerates over whether or not what’s happening is even existentially possible, searching for scientific evidence from every outlet before she’ll cast judgment on the daughter she raised.
Still, there’s absolutely no denying the roots that took place in entertainment culture with the twin bill of Kelly and McCormack as the flawed mother/daughter pairing. Watching them spar will likely remind viewers of the so many other times they’ve seen a ‘bad seed’ on film or in reality. Sure, there’s a bit of cringe with it – I did warn you this is melodrama – but Seed is the kind of thing the big screen has always done well. It’s bigger than life. It’s bolder than breath. It’s a rare sight to see that deserves to be devoured at least once … and then pray it’s the only seed to grow on your path through life.
The Bad Seed (1956) was produced by Warner Bros. and Mervyn LeRoy Productions, Inc. DVD distribution (for this particular release) has been coordinated by the fine folks at the Warner Archive. As for the technical specifications? While I’m no trained video expert, I can assure readers that the provided sights and sounds are pretty exceptional throughout: there’s one sequence near the ending that’s a bit grainy, but I suspect that’s owed to a flaw from the source material. Lastly, if you’re looking for special features? Along with the original theatrical trailer, the disc boasts a ‘look-back’ interview with Patty McCormack as well as an audio commentary that largely serves as a long, protracted interview with her with occasional observations about the process of making the films along with a few behind-the-scenes bits with her co-stars. It’s a good collection for fans of the original film.
I’ve often said that – for those of us raised on theater – it’s reasonably easy to spot something that began life there and then transitioned to the silver screen; and 1956’s The Bad Seed – while a bit hammy and predictable – is precisely the kind of property I’m talking about. Nearly every scene or sequence (spare a few) feels like it was a bit overly speechified in order to give that particular actor or actress a key scene; so – as adaptations go – this one wasn’t quite different enough to make me see it as anything other than something that would’ve been done better at the local (live) theater. Don’t get me wrong: it’s perfectly acceptable entertainment, but the central story – namely an overwrought melodrama of a mother who can’t quite see the truth right in front of her face – rings more as a dramatic invention than it does anything else. A noble effort – one that has inspired countless copies – and deserves to be scene at least once by all.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of The Bad Seed (1956) 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
Folks, I never quite 'got into' the whole Rocky Horror thing.
I think that growing up as part of a generation that was only really coming of age when 1975's The Rocky Horror Picture Show stormed onto the scene a young mind might look at it and either be fascinated with the social response or wind up thinking, "Good Lord, what's wrong with all of those people?" That's the thing about counter-culture: it only works when fully understands what's properly being skewered, and I think that's where I kinda/sorta missed that boat. Additionally, I think when small creative movements like this happen that there are a good number of smilers who simply jump aboard for the sake of not wanting to be left behind: in some ways, it's peer pressure even though you force it on yourself at a ripe young age, never quite grasping what it's all about and instead lurching forward because you think it's hip or cool or something. Whatever.
Regardless, I've never denied the talent of its massive star Tim Curry. He's a guy who could play a normie or a villain but I suspect he preferred the latter over the former. Who can blame him? Some of the screens best characters have been both conceived and written as being a bit off-center, and such motivation arguably gives an actor or an actress much more to work with when adding layers to the characterization. In this department, Curry was a delight, especially when scripts called on him to go dark ... even for humor.
In fact, I'd once gotten into some hot water over throwing his name into the hat as someone I would've loved to see play the seminal Doctor Who. (Yes, I know that he's been considered here and there over the years.) I think his inclusion in the franchise could've accomplished what other creators long wanted to do -- what with Curry's popularity amongst the lovable oddballs out there -- and none would've been the wiser. This isn't to say that the writing should've changed for the time traveler to incorporate such things -- as has been tried and shown to fail -- but Curry's talents might've brought others into the fold simply to appreciate the personality and not so much anything further.
I realize his health had been failing for some time, so the announcement of his passing this morning really comes as no surprise. What an incredible life lived, and what an incredible resume of projects -- nearly reached an astonishing 250 screen credits -- and we'll probably not see the likes of him any time soon.
Our warmest prayers are extended to the family, friends, and fans of Tim Curry.
May he rest in eternal peace ...
-- EZ
I think that growing up as part of a generation that was only really coming of age when 1975's The Rocky Horror Picture Show stormed onto the scene a young mind might look at it and either be fascinated with the social response or wind up thinking, "Good Lord, what's wrong with all of those people?" That's the thing about counter-culture: it only works when fully understands what's properly being skewered, and I think that's where I kinda/sorta missed that boat. Additionally, I think when small creative movements like this happen that there are a good number of smilers who simply jump aboard for the sake of not wanting to be left behind: in some ways, it's peer pressure even though you force it on yourself at a ripe young age, never quite grasping what it's all about and instead lurching forward because you think it's hip or cool or something. Whatever.
Regardless, I've never denied the talent of its massive star Tim Curry. He's a guy who could play a normie or a villain but I suspect he preferred the latter over the former. Who can blame him? Some of the screens best characters have been both conceived and written as being a bit off-center, and such motivation arguably gives an actor or an actress much more to work with when adding layers to the characterization. In this department, Curry was a delight, especially when scripts called on him to go dark ... even for humor.
In fact, I'd once gotten into some hot water over throwing his name into the hat as someone I would've loved to see play the seminal Doctor Who. (Yes, I know that he's been considered here and there over the years.) I think his inclusion in the franchise could've accomplished what other creators long wanted to do -- what with Curry's popularity amongst the lovable oddballs out there -- and none would've been the wiser. This isn't to say that the writing should've changed for the time traveler to incorporate such things -- as has been tried and shown to fail -- but Curry's talents might've brought others into the fold simply to appreciate the personality and not so much anything further.
I realize his health had been failing for some time, so the announcement of his passing this morning really comes as no surprise. What an incredible life lived, and what an incredible resume of projects -- nearly reached an astonishing 250 screen credits -- and we'll probably not see the likes of him any time soon.
Our warmest prayers are extended to the family, friends, and fans of Tim Curry.
May he rest in eternal peace ...
-- EZ
- Published on
site update
so many movies ... so little time ...
On this day in 2017 (in the United Kingdom), audiences in attendance of the Horror Channel FrightFest were treated to the big screen premiere of Attack Of The Adult Babies. Directed by Dominic Brunt from a story by Joanne Mitchell and Paul Shrimpton, the film starred Kurtis Lowe, Andrew Dunn, Andy Abrahams, and others.
According to our friends at IMDB.com, here's the plot summary:
"Three family members break into a remote country house to recover secret documents, but discover a cult of wealthy adults dressed as babies inside with sexy "nurses" as their caretakers."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Three family members break into a remote country house to recover secret documents, but discover a cult of wealthy adults dressed as babies inside with sexy "nurses" as their caretakers."
-- EZ
From Google.com:
Attack of the Adult Babies is a 2017 British indie horror-comedy film that mixes gross-out humor, bizarre horror, and heavy political satire. [1, 2, 3]
The Plot
Three family members break into a remote country manor to steal top-secret documents. Once inside, they discover a bizarre and depraved secret society. A group of high-powered, wealthy, middle-aged men are regressing and dressing up as giant babies, tended to by caretakers dressed as "nurses". These men are not just escaping the stress of daily life—they are gathered to manipulate and "refuel" the world's economy through grotesque and sinister means. [1, 4, 5, 6]
Key Details
AI responses may include mistakes.
[1] https://www.musicboxtheatre.com/films-and-events/attack-of-the-adult-babies
[2] https://warped-perspective.com/2018/05/attack-of-the-adult-babies-2017/
[3] https://www.rottentomatoes.com/m/adult_babies
[4] https://www.imdb.com/title/tt5871318/
[5] https://letterboxd.com/film/attack-of-the-adult-babies/
[6] https://www.imdb.com/news/ni61388169/
[7] https://www.eyeforfilm.co.uk/review/attack-of-the-adult-babies-2017-film-review-by-jennie-kermode
Attack of the Adult Babies is a 2017 British indie horror-comedy film that mixes gross-out humor, bizarre horror, and heavy political satire. [1, 2, 3]
The Plot
Three family members break into a remote country manor to steal top-secret documents. Once inside, they discover a bizarre and depraved secret society. A group of high-powered, wealthy, middle-aged men are regressing and dressing up as giant babies, tended to by caretakers dressed as "nurses". These men are not just escaping the stress of daily life—they are gathered to manipulate and "refuel" the world's economy through grotesque and sinister means. [1, 4, 5, 6]
Key Details
- Director: Dominic Brunt
- Writers: Joanne Mitchell and Paul Shrimpton
- Cast: Includes Andrew Dunn, Charlie Chuck, Kurtis Lowe, and Joanne Mitchell
- Runtime: 80 minutes
- Tone: Shock-cinema satire featuring outrageous elements like surreal black comedy, body horror, and extreme gross-out gags. [1, 2, 6, 7]
AI responses may include mistakes.
[1] https://www.musicboxtheatre.com/films-and-events/attack-of-the-adult-babies
[2] https://warped-perspective.com/2018/05/attack-of-the-adult-babies-2017/
[3] https://www.rottentomatoes.com/m/adult_babies
[4] https://www.imdb.com/title/tt5871318/
[5] https://letterboxd.com/film/attack-of-the-adult-babies/
[6] https://www.imdb.com/news/ni61388169/
[7] https://www.eyeforfilm.co.uk/review/attack-of-the-adult-babies-2017-film-review-by-jennie-kermode
- Published on
site update
so many movies ... so little time ...
On this day in 2021 (in the United Kingdom), audiences in attendance of FrightFest were treated to the big screen premiere of Shadow Of The Cat. Written (in part) and directed by José María Cicala, the film starred Maite Lanata, Guillermo Zapata, Danny Trejo, and others.
According to our friends at IMDB.com, here's the plot summary:
"Gato lives with his teenage daughter Emma and a small group of people, on an isolated farm without phone or internet. But Emma, tempted by curiosity, gets a mobile phone."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Gato lives with his teenage daughter Emma and a small group of people, on an isolated farm without phone or internet. But Emma, tempted by curiosity, gets a mobile phone."
-- EZ
From Google.com:
Shadow of the Cat is a 2021 Argentinian fantasy-thriller film directed by José María Cicala. [1, 2, 3]
Plot
Cast and Production
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt10616760/
[2] https://moviesandmania.com/2022/06/15/shadow-of-the-cat-review-movie-film-2021-overview-reviews/
[3] http://www.eyeforfilm.co.uk/review/shadow-of-the-cat-2021-film-review-by-jennie-kermode
[4] https://www.rottentomatoes.com/m/shadow_of_the_cat
[5] https://www.youtube.com/watch?v=CbcxP7LHfCY
[6] https://letterboxd.com/film/shadow-of-the-cat/reviews/
Shadow of the Cat is a 2021 Argentinian fantasy-thriller film directed by José María Cicala. [1, 2, 3]
Plot
- Gato (Guillermo Zapata) lives on an isolated farm with his teenage daughter Emma (Maite Lanata) and a small community, completely cut off from modern technology like phones and the internet.
- Emma finds a mobile phone during a trip to a local carnival and connects to the outside world.
- A woman named Celia (Mónica Antonópulos) contacts Emma, claiming to be her estranged mother whom Gato said abandoned her at birth.
- Emma leaves to find her mother, prompting Gato and his loyal friend Sombra (Danny Trejo) to chase after her and protect her from hidden dangers. [2, 4]
Cast and Production
- Danny Trejo stars as Sombra, marking his first-ever Spanish-language film role. Instead of his typical tough-guy persona, his character acts as a protective, advisory shadow.
- Maite Lanata plays Emma.
- Guillermo Zapata plays Gato.
- Mónica Antonópulos plays Celia.
- The movie runs for 87 minutes and blends coming-of-age themes with mystical, surreal, and dark elements. [1, 3, 5, 6]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt10616760/
[2] https://moviesandmania.com/2022/06/15/shadow-of-the-cat-review-movie-film-2021-overview-reviews/
[3] http://www.eyeforfilm.co.uk/review/shadow-of-the-cat-2021-film-review-by-jennie-kermode
[4] https://www.rottentomatoes.com/m/shadow_of_the_cat
[5] https://www.youtube.com/watch?v=CbcxP7LHfCY
[6] https://letterboxd.com/film/shadow-of-the-cat/reviews/
- Published on
site update
so many movies ... so little time ...
On this day in 2023 (in the United Kingdom), audiences in attendance of the FrightFest London were treated to the big screen launch of How To Kill Monsters. Written (in part) and directed by Stewart Sparke, the film starred Lyndsey Craine, Arron Dennis, Fenfen Huang, and others.
According to our friends at IMDB.com, here's the plot summary:
"The sole survivor of a blood-drenched massacre must team up with a rag-tag bunch of rookie cops and lawbreakers to defend a police station from an invasion of monsters from another dimension."
For the record:
To the film's credit, How To Kill Monsters was definitely a sensation on the film festival circuit, racking up a great deal of praise and awards.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"The sole survivor of a blood-drenched massacre must team up with a rag-tag bunch of rookie cops and lawbreakers to defend a police station from an invasion of monsters from another dimension."
For the record:
To the film's credit, How To Kill Monsters was definitely a sensation on the film festival circuit, racking up a great deal of praise and awards.
-- EZ
From Google.com:
How to Kill Monsters is a 2023 British indie comedy-horror film directed by Stewart Sparke. [1, 2]
Plot Overview
Style and Production
[1] https://horror.fandom.com/wiki/How_to_Kill_Monsters_(2023)
[2] https://moviesandmania.com/2023/09/05/how-to-kill-monsters-review-comedy-horror-movie-film-2023-reviews-trailer/
[3] https://www.rottentomatoes.com/m/how_to_kill_monsters
[4] https://dailydead.com/frightfest-2023-review-how-to-kill-monsters-serves-up-blood-and-laughs-by-the-bucketful/
[5] https://www.imdb.com/title/tt22643636/plotsummary/
[6] https://tubitv.com/movies/100039386/how-to-kill-monsters
[7] https://bandsaboutmovies.com/2025/12/02/how-to-kill-monsters-2023/
[8] https://www.youtube.com/watch?v=aZZOyPMScXA
[9] https://www.heyuguys.com/how-to-kill-monsters-review/
How to Kill Monsters is a 2023 British indie comedy-horror film directed by Stewart Sparke. [1, 2]
Plot Overview
- The Survivor: Jamie Lancaster (played by Lyndsey Craine) survives a bloody massacre at a remote cabin after an ancient ritual summons Lovecraftian creatures.
- The Arrest: Police arrest Jamie and lock her in a local station, suspecting she committed the murders.
- The Invasion: The police station is suddenly pulled into a nightmarish dimension filled with flesh-eating monsters.
- The Team-Up: Jamie must join forces with rookie cops, bickering bachelorette party guests, and criminals in the cells to fight their way through the horde. [6, 7]
Style and Production
- Practical Effects: The film relies heavily on old-school, gory practical creature effects and copious amounts of fake blood rather than cheap CGI.
- Inspirations: It draws heavy inspiration from 1980s cult classics like Evil Dead II and Gremlins, combined with British comedy.
- Connections: It serves as a spiritual, standalone companion piece to director Stewart Sparke's earlier 2018 film Book of Monsters. [1, 2, 8, 9]
[1] https://horror.fandom.com/wiki/How_to_Kill_Monsters_(2023)
[2] https://moviesandmania.com/2023/09/05/how-to-kill-monsters-review-comedy-horror-movie-film-2023-reviews-trailer/
[3] https://www.rottentomatoes.com/m/how_to_kill_monsters
[4] https://dailydead.com/frightfest-2023-review-how-to-kill-monsters-serves-up-blood-and-laughs-by-the-bucketful/
[5] https://www.imdb.com/title/tt22643636/plotsummary/
[6] https://tubitv.com/movies/100039386/how-to-kill-monsters
[7] https://bandsaboutmovies.com/2025/12/02/how-to-kill-monsters-2023/
[8] https://www.youtube.com/watch?v=aZZOyPMScXA
[9] https://www.heyuguys.com/how-to-kill-monsters-review/
- Published on
in memoriam
Folks, I'm just seeing word reading the World Wide Web regarding the passing of music icon Dolly Parton. She was 80.
I know, I know, I know: a good many of you might be thinking, "What does Dolly Parton have to do with the world of Science Fiction?"
Well, I'm going to give you a history lesson today, readers.
In 2022, the singer made a rare appearance in the realms of the Fantastic with a stop -- and a song -- to the world of Seth Macfarlane's The Orville. "Midnight Blue" -- Season 3, Episode 8 -- saw the supremely talented woman and philanthropist made a virtually simulated stop to the show and sang her song "Try" for the home audiences.
That, my friends, was a welcome and rare visit that will always deserve a mention in these parts.
Our warmest prayers are extended to the family, friends, and fans of Dolly Parton.
May she forever rest in peace ...
-- EZ
I know, I know, I know: a good many of you might be thinking, "What does Dolly Parton have to do with the world of Science Fiction?"
Well, I'm going to give you a history lesson today, readers.
In 2022, the singer made a rare appearance in the realms of the Fantastic with a stop -- and a song -- to the world of Seth Macfarlane's The Orville. "Midnight Blue" -- Season 3, Episode 8 -- saw the supremely talented woman and philanthropist made a virtually simulated stop to the show and sang her song "Try" for the home audiences.
That, my friends, was a welcome and rare visit that will always deserve a mention in these parts.
Our warmest prayers are extended to the family, friends, and fans of Dolly Parton.
May she forever rest in peace ...
-- EZ
- Published on
Folks, somewhere along the way, a great deal of fandom has kinda/sorta lost itself.
You see, these days it seems far more common for a particular book series or television series or even movie series to D-I-V-I-D-E fandom instead of bring them together under one magical tent. Of course, some of this is owed to the divisive politics that has, sadly, gone hand-in-hand with so many intellectual properties: I'm certainly not defending a showrunner's choice of what works and what doesn't, and yet at the end of the day I try to 'get along' with others as best as I can by sticking to the age-old tenet of "you like what you like, and I'll like what I like."
I know, I know, I know: this doesn't work for everyone, and that's perfectly okay.
However, this past weekend I had the good fortune of attending the 4th Annual Gathering Of The Ghouls in Mesa, Arizona. This is an annual get-together largely for die-hard fans of Horror projects near and far; and the convention has a wide assortment of vendors, guests, and programming for enthusiasts young and old. (Mind you: I saw mostly those of us a bit more seasoned in age walking the convention floor, but there were a good number of kiddies squeezed in amongst the throng as well.)
Because I was greeted by so many with an open heart and an open mind -- one guy even gave me a special edition print which he was fortunate enough to score two of -- I think it important for me to also 'give a little back' to the wider Horror Community. I'm not even as big a Horror fan as these folks are, but that didn't matter to them. Whether I liked the old stuff or had my blood chilled by something in the modern era, I was an equal there ... and that's something I really hope returns to fandom.
So ... in an attempt to promote the kind of fandom I think the world should see more of, I'm going to begin the task of featuring some of these vendors whose sites and profiles I can locate online. I'm doing this because I think they've shown themselves as being exactly the kind of smilers we should engage with online; and I can only wish them nothing but success in whatever they do. I won't have much to add to these announcements, but I offer them up in hopes that the readership will gradually search them out and maybe even throw a few dollars their way if you're so inclined.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper (though I realize that living long and prospering isn't exactly what the Horror genre is all about).
-- EZ
You see, these days it seems far more common for a particular book series or television series or even movie series to D-I-V-I-D-E fandom instead of bring them together under one magical tent. Of course, some of this is owed to the divisive politics that has, sadly, gone hand-in-hand with so many intellectual properties: I'm certainly not defending a showrunner's choice of what works and what doesn't, and yet at the end of the day I try to 'get along' with others as best as I can by sticking to the age-old tenet of "you like what you like, and I'll like what I like."
I know, I know, I know: this doesn't work for everyone, and that's perfectly okay.
However, this past weekend I had the good fortune of attending the 4th Annual Gathering Of The Ghouls in Mesa, Arizona. This is an annual get-together largely for die-hard fans of Horror projects near and far; and the convention has a wide assortment of vendors, guests, and programming for enthusiasts young and old. (Mind you: I saw mostly those of us a bit more seasoned in age walking the convention floor, but there were a good number of kiddies squeezed in amongst the throng as well.)
Because I was greeted by so many with an open heart and an open mind -- one guy even gave me a special edition print which he was fortunate enough to score two of -- I think it important for me to also 'give a little back' to the wider Horror Community. I'm not even as big a Horror fan as these folks are, but that didn't matter to them. Whether I liked the old stuff or had my blood chilled by something in the modern era, I was an equal there ... and that's something I really hope returns to fandom.
So ... in an attempt to promote the kind of fandom I think the world should see more of, I'm going to begin the task of featuring some of these vendors whose sites and profiles I can locate online. I'm doing this because I think they've shown themselves as being exactly the kind of smilers we should engage with online; and I can only wish them nothing but success in whatever they do. I won't have much to add to these announcements, but I offer them up in hopes that the readership will gradually search them out and maybe even throw a few dollars their way if you're so inclined.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper (though I realize that living long and prospering isn't exactly what the Horror genre is all about).
-- EZ
coolsville, usa
Coolsville, USA and Spitfire Interiors looks to be in 'sistership' business, offering up a variety of Horror-themed collectibles across what looks to be mostly vintage properties.
They can be found at the following internet locations:
Instagram: Link
Facebook: Link
Webstore: Coolsville, USA
Webstore: Spitfire Interiors
They can be found at the following internet locations:
Instagram: Link
Facebook: Link
Webstore: Coolsville, USA
Webstore: Spitfire Interiors
- 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:
“An exploration of one's relationships with food, sexuality, and revenge. It asks, "How far would you go in the name of love?"”
On the front end of evaluating a film, sometime I see something – a minor observation that relates to whether or not it’s on the right path at being perceived by an audience best to appreciate its wares – that warrants a mention. This little remark might, inevitably, have little to do with the film, its cast, its crew, and its message; and yet I feel the compunction to say it regardless.
Here it is: 2023’s Cannibal Mukbang marketers – whoever they may be – likely did the film no favor in promoting it in any way as a Comedy.
Now, before you get your panties all twisted out of shape by thinking I’m attack the picture, let me clarify a few points.
First up, Mukbang is first and foremost listed as a ‘Comedy’ on IMDB.com; and from what I’ve been told by the fine folks at IMDB.com this kind of initial listing is (typically) done by someone directly involved with the project. After all, IMDB.com doesn’t have paid staffers watching the release and evaluating it for their own purposes: this data chiefly comes from the production company and/or the senior production staff of the flick. While it adds ‘Horror’ after ‘Comedy,’ I’d still insist that, no, Mukbang most definitely isn’t anything resembling even a conventional Horror/Comedy. It may have elements. It may evolke a laugh or two. And it may even have satirical elements mixed in there – much in the same way stories do – but it is not a ‘Comedy.’
Second, a great many secondary websites which cull their data based on IMDB.com have now been somewhat misinformed over this classification. Indeed, I can assure you that the folks who sent materials to me at SciFiHistory.Net also cited it as a ‘Comedy,’ and why wouldn’t they? That’s how it was categorized on the internet’s leading entertainment database, and (cough cough) clearly they wouldn’t and couldn’t be wrong? I know, I know, I know: you’re all screaming that such an error is trivial when compared to the cinematic goodness that Mukbang offers, and I agree with that argument. But saying something is X when it clearly isn’t X may have sent this nifty little flick down an alley where serious Horror watchers might never discover it.
Lastly, Mukbang – as its core – kinda/sorta skewers the whole romantic core – in much the way a satire would – of its two lead players, how they find one another, what they ultimately share that leads them to find love (or a close facsimile), and even where the two end up. Writer/director Aimee Kugo upends everything the traditional Rom/Com stands for in her picture, so much so that I can only conclude all of this was done deliberately and not because it was intended for laughs. Some online praise it for its ‘dark humor,’ and I’m not certainly those folks understand what ‘dark humor’ is. Yes, laughs may’ve followed, but at the end of the day there’s still a functional difference between those scored chuckles and true centrist Comedy.
Okay. My soapbox has been stored away until next time.
Mark (played by Nate Wise) is the perennial twentysomethingish who, sadly, passes the time between life and death mired in a dead-end job with no prospects of happiness, promotion, or sanity. After he and his brother Maverick (Clay von Carlowitz) were orphaned at a young age, they were raised in the state system wherein many are lucky to get out with a breath of normalcy. Somehow, the two did survive; and – despite what seems to be the usual circumstantial peccadillos about not being capable of effectively expressing themselves and finding authentic love – they go about their days making the best of things as well as two siblings from a broken home can.
At perhaps the exact opposite of the developmental spectrum, young Ash (a curiously delightful April Consalo) hasn’t quite been the same psychologically since she bit the penis off a backwoods Louisiana cannibal and then fed off his carcass for a month. An event like that alone should leave some deep emotional scarring – not to mention the fact that the same people-eater both noshed on Ash’s dead sister Allie and made the elder sibling eat some, too – but for all intents and purposes the lady appears to be living a life as normal as anyone else. While she’s built a lucrative internet career in the business of mukbanging – that is, she eats a big amount of food online while allowing her subscribers to watch and listen to her private chatter about it – she’s functionally more grounded in her affairs than most around her.
What those in her audience don’t know is that she – ahem – prepares her vibrant dishes with a foundation of human meat, the prime cuts she achieves from carving up social predators she finds via online research. In other words, if you’ve done something nefarious – raping, pillaging, etc. – in her chosen zip code, then Ash intends to both find and make a meal out of you. While vigilantism is a noble profession (some would argue) cannibalism most definitely is a bridge too far; and this is where our star-crossed lovebirds Mark and Ash need to come to terms before their relationship can be fully consummated.
Now, the two do manage to find happiness – there’d be no story here if they didn’t – but it isn’t without Mark having to relax his own moral code in order to, firstly, accept what dark designs Ash has put on her life and, secondly, actually give flesh a try in his diet. Initially, he strongly rejects it as food – audiences are treated to a small handful of vomiting sequences, so the squeamish among you have been fully warned – only to eventually succumb to its grisly charm. As Ash predicts, her young beau develops a hunger for it that can’t be quenched. Such is the way of the great suburban cannibal, I suspect.
To Kuge’s credit, Mukbang doesn’t quite go where I expected it to. Those watching closely might notice that the city’s growing body count might be so large that it can’t be owed to one or two wayward anthropophagites (Google it, it’s a word); and, yes, this little burg has more than its fair share of baddies who need to be dealt with in one way or another. Eventually, someone gets wrapped up into this web who neither Ash nor Mark suspected; and it’s at this time wherein their relationship gets truly put to the test. Unfortunately, Kuge’s resolution is where I feel personally let down: it wraps up far too quickly and needed something post the big finale as a coda to give viewers closure and not a lesson in morality (certainly not from one who eats her problems whole).
To their credit, Wise and Consalo are quite good as leads. There is real effort here at establishing some chemistry – Consalo’s emotions swing vastly larger than do Wise, who simmers with an undercurrent not unlike Keanu Reeve when he just walking through his lines – and the picture works best when Kuge surrenders to the grindhouse sensibilities of, say, 70’s and 80’s Horrors. In fact, there’s one scene that’s kinda/sorta ruined (my opinion) of the two lovebirds lying in bed with their scene intercut between two angles when it should’ve been conceived in a single take. Von Carlowitz does good work as well, but he’s mostly dead-ended into a role that’s somewhat stereotypical because that’s what storytellers do when they want focus to remain elsewhere.
Nonetheless, there’s nothing in Mukbang that makes the film work in any way as a Comedy. It’s big and bloody in the right measure; and any laughs one musters up are entirely owed to … well … one’s tastes.
Cannibal Mukbang (2023) was produced by Melty Media. DVD distribution (for this particular release) has been coordinated by the fine folks at Well Go USA Entertainment and Jackrabbit Media. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds throughout are very good. There’s a great degree of practical effects work in here once one reaches the bloodier domains, and the technicians did a pretty fabulous job conveying such dire predicaments. Lastly, if you’re looking for special features? Well … you’ll have to look elsewhere as this one was a surprisingly ‘bare bones’ affair … even with all that meat.
Recommended.
As good as it is (and it is pretty good), 2023’s Cannibal Mukbang still fails to make the menu mostly because it never quite says anything about this semi-complex world that Kuge created nor the people she populated it with. Instead, it just ends when it’s finally getting damned interesting (after a somewhat bloated 104 minutes), fading to black on its biggest development when those of us who truly care about character deserves some kind of narrative wrap-up. Still, Melty Media should be happy with this one as it very well might swing open a few doors for a talented cast and its central storyteller. Well done … and bon appetit.
In the interest of fairness, I’m pleased to disclose that the fine folks at Well Go Entertainment USA (via Allied Vaughn) provided me with a complimentary Blu-ray of Cannibal Mukbang (2023) 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:
“An exploration of one's relationships with food, sexuality, and revenge. It asks, "How far would you go in the name of love?"”
On the front end of evaluating a film, sometime I see something – a minor observation that relates to whether or not it’s on the right path at being perceived by an audience best to appreciate its wares – that warrants a mention. This little remark might, inevitably, have little to do with the film, its cast, its crew, and its message; and yet I feel the compunction to say it regardless.
Here it is: 2023’s Cannibal Mukbang marketers – whoever they may be – likely did the film no favor in promoting it in any way as a Comedy.
Now, before you get your panties all twisted out of shape by thinking I’m attack the picture, let me clarify a few points.
First up, Mukbang is first and foremost listed as a ‘Comedy’ on IMDB.com; and from what I’ve been told by the fine folks at IMDB.com this kind of initial listing is (typically) done by someone directly involved with the project. After all, IMDB.com doesn’t have paid staffers watching the release and evaluating it for their own purposes: this data chiefly comes from the production company and/or the senior production staff of the flick. While it adds ‘Horror’ after ‘Comedy,’ I’d still insist that, no, Mukbang most definitely isn’t anything resembling even a conventional Horror/Comedy. It may have elements. It may evolke a laugh or two. And it may even have satirical elements mixed in there – much in the same way stories do – but it is not a ‘Comedy.’
Second, a great many secondary websites which cull their data based on IMDB.com have now been somewhat misinformed over this classification. Indeed, I can assure you that the folks who sent materials to me at SciFiHistory.Net also cited it as a ‘Comedy,’ and why wouldn’t they? That’s how it was categorized on the internet’s leading entertainment database, and (cough cough) clearly they wouldn’t and couldn’t be wrong? I know, I know, I know: you’re all screaming that such an error is trivial when compared to the cinematic goodness that Mukbang offers, and I agree with that argument. But saying something is X when it clearly isn’t X may have sent this nifty little flick down an alley where serious Horror watchers might never discover it.
Lastly, Mukbang – as its core – kinda/sorta skewers the whole romantic core – in much the way a satire would – of its two lead players, how they find one another, what they ultimately share that leads them to find love (or a close facsimile), and even where the two end up. Writer/director Aimee Kugo upends everything the traditional Rom/Com stands for in her picture, so much so that I can only conclude all of this was done deliberately and not because it was intended for laughs. Some online praise it for its ‘dark humor,’ and I’m not certainly those folks understand what ‘dark humor’ is. Yes, laughs may’ve followed, but at the end of the day there’s still a functional difference between those scored chuckles and true centrist Comedy.
Okay. My soapbox has been stored away until next time.
Mark (played by Nate Wise) is the perennial twentysomethingish who, sadly, passes the time between life and death mired in a dead-end job with no prospects of happiness, promotion, or sanity. After he and his brother Maverick (Clay von Carlowitz) were orphaned at a young age, they were raised in the state system wherein many are lucky to get out with a breath of normalcy. Somehow, the two did survive; and – despite what seems to be the usual circumstantial peccadillos about not being capable of effectively expressing themselves and finding authentic love – they go about their days making the best of things as well as two siblings from a broken home can.
At perhaps the exact opposite of the developmental spectrum, young Ash (a curiously delightful April Consalo) hasn’t quite been the same psychologically since she bit the penis off a backwoods Louisiana cannibal and then fed off his carcass for a month. An event like that alone should leave some deep emotional scarring – not to mention the fact that the same people-eater both noshed on Ash’s dead sister Allie and made the elder sibling eat some, too – but for all intents and purposes the lady appears to be living a life as normal as anyone else. While she’s built a lucrative internet career in the business of mukbanging – that is, she eats a big amount of food online while allowing her subscribers to watch and listen to her private chatter about it – she’s functionally more grounded in her affairs than most around her.
What those in her audience don’t know is that she – ahem – prepares her vibrant dishes with a foundation of human meat, the prime cuts she achieves from carving up social predators she finds via online research. In other words, if you’ve done something nefarious – raping, pillaging, etc. – in her chosen zip code, then Ash intends to both find and make a meal out of you. While vigilantism is a noble profession (some would argue) cannibalism most definitely is a bridge too far; and this is where our star-crossed lovebirds Mark and Ash need to come to terms before their relationship can be fully consummated.
Now, the two do manage to find happiness – there’d be no story here if they didn’t – but it isn’t without Mark having to relax his own moral code in order to, firstly, accept what dark designs Ash has put on her life and, secondly, actually give flesh a try in his diet. Initially, he strongly rejects it as food – audiences are treated to a small handful of vomiting sequences, so the squeamish among you have been fully warned – only to eventually succumb to its grisly charm. As Ash predicts, her young beau develops a hunger for it that can’t be quenched. Such is the way of the great suburban cannibal, I suspect.
To Kuge’s credit, Mukbang doesn’t quite go where I expected it to. Those watching closely might notice that the city’s growing body count might be so large that it can’t be owed to one or two wayward anthropophagites (Google it, it’s a word); and, yes, this little burg has more than its fair share of baddies who need to be dealt with in one way or another. Eventually, someone gets wrapped up into this web who neither Ash nor Mark suspected; and it’s at this time wherein their relationship gets truly put to the test. Unfortunately, Kuge’s resolution is where I feel personally let down: it wraps up far too quickly and needed something post the big finale as a coda to give viewers closure and not a lesson in morality (certainly not from one who eats her problems whole).
To their credit, Wise and Consalo are quite good as leads. There is real effort here at establishing some chemistry – Consalo’s emotions swing vastly larger than do Wise, who simmers with an undercurrent not unlike Keanu Reeve when he just walking through his lines – and the picture works best when Kuge surrenders to the grindhouse sensibilities of, say, 70’s and 80’s Horrors. In fact, there’s one scene that’s kinda/sorta ruined (my opinion) of the two lovebirds lying in bed with their scene intercut between two angles when it should’ve been conceived in a single take. Von Carlowitz does good work as well, but he’s mostly dead-ended into a role that’s somewhat stereotypical because that’s what storytellers do when they want focus to remain elsewhere.
Nonetheless, there’s nothing in Mukbang that makes the film work in any way as a Comedy. It’s big and bloody in the right measure; and any laughs one musters up are entirely owed to … well … one’s tastes.
Cannibal Mukbang (2023) was produced by Melty Media. DVD distribution (for this particular release) has been coordinated by the fine folks at Well Go USA Entertainment and Jackrabbit Media. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds throughout are very good. There’s a great degree of practical effects work in here once one reaches the bloodier domains, and the technicians did a pretty fabulous job conveying such dire predicaments. Lastly, if you’re looking for special features? Well … you’ll have to look elsewhere as this one was a surprisingly ‘bare bones’ affair … even with all that meat.
Recommended.
As good as it is (and it is pretty good), 2023’s Cannibal Mukbang still fails to make the menu mostly because it never quite says anything about this semi-complex world that Kuge created nor the people she populated it with. Instead, it just ends when it’s finally getting damned interesting (after a somewhat bloated 104 minutes), fading to black on its biggest development when those of us who truly care about character deserves some kind of narrative wrap-up. Still, Melty Media should be happy with this one as it very well might swing open a few doors for a talented cast and its central storyteller. Well done … and bon appetit.
In the interest of fairness, I’m pleased to disclose that the fine folks at Well Go Entertainment USA (via Allied Vaughn) provided me with a complimentary Blu-ray of Cannibal Mukbang (2023) 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
site update
so many movies ... so little time ...
On this day in 2025 (in the United Kingdom), audiences in attendance of the FrightFest London were treated to the theatrical premiere of The Mannequin. Written and directed by John Berardo, the film starred Isabella Gomez, Lindsay LaVanchy, Krystle Martin, and others.
According to our friends at IMDB.com, here's the plot summary:
"A stylist assistant investigates her sister's death in a historic LA building, only to face a vengeful ghost of a serial killer who dismembered victims decades ago. She must escape before she's next."
For the record:
To the film's credit, The Mannequin earned a bit of extra attention from a screening on the film festival circuit.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"A stylist assistant investigates her sister's death in a historic LA building, only to face a vengeful ghost of a serial killer who dismembered victims decades ago. She must escape before she's next."
For the record:
To the film's credit, The Mannequin earned a bit of extra attention from a screening on the film festival circuit.
-- EZ
From Google.com:
The Mannequin is a 2025 supernatural horror film directed by John Berardo that blends fashion industry drama with a ghost story. [1, 2]
Plot Overview
Cast and Crew
Release and Reception
AI responses may include mistakes.
[1] https://www.rottentomatoes.com/m/the_mannequin_2025
[2] https://joshatthemovies.com/2025/08/24/frightfest-2025-the-mannequin/
[3] https://www.imdb.com/title/tt11261532/
[4] https://johnnyalucard.com/2025/08/24/frightfest-review-the-mannequin-2025/
[5] https://www.horrormovielists.com/2025/10/mannequin-movie-review-2025.html
[6] https://tv.apple.com/us/movie/the-mannequin/umc.cmc.6p3f4e65dkd5lybfw6r92c4lm
[7] https://www.youtube.com/watch?v=jWYlPdtB69M
[8] https://en.wikipedia.org/wiki/The_Mannequin
The Mannequin is a 2025 supernatural horror film directed by John Berardo that blends fashion industry drama with a ghost story. [1, 2]
Plot Overview
- The Setting: A historic downtown Los Angeles loft building.
- The Premise: Liana Rojas (played by Isabella Gomez) is a stylist assistant whose fashion designer sister, Sophia, mysteriously dies (ruled a suicide) after they rent out the building for a new studio.
- The Threat: Liana later reopens the space to honor her sister, only to discover the building is haunted by the malevolent spirit of a 1970s serial killer/photographer who dismembered his victims. An eerie, unmoving mannequin in the space acts as a focal point for the supernatural terror. [2, 3, 4]
Cast and Crew
- Director: John Berardo
- Liana Rojas: Isabella Gomez
- Sophia Rojas: Gabriella Rivera
- Hazel Miller: Lindsay LaVanchy
- Nadine Yang: Shireen Lai [4, 5, 6]
Release and Reception
- Premieres: It debuted at FrightFest London on August 24, 2025, and screened at Screamfest in the U.S. in October 2025 before arriving on digital and VOD platforms.
- Reviews: Critics and audiences call it a stylish, atmospheric indie thriller with striking black-and-white prologues and strong performances, though some noted the pacing and plot felt a bit uneven. [1, 2]
AI responses may include mistakes.
[1] https://www.rottentomatoes.com/m/the_mannequin_2025
[2] https://joshatthemovies.com/2025/08/24/frightfest-2025-the-mannequin/
[3] https://www.imdb.com/title/tt11261532/
[4] https://johnnyalucard.com/2025/08/24/frightfest-review-the-mannequin-2025/
[5] https://www.horrormovielists.com/2025/10/mannequin-movie-review-2025.html
[6] https://tv.apple.com/us/movie/the-mannequin/umc.cmc.6p3f4e65dkd5lybfw6r92c4lm
[7] https://www.youtube.com/watch?v=jWYlPdtB69M
[8] https://en.wikipedia.org/wiki/The_Mannequin
- Published on
in memoriam
Good morning, gentle readers ... and, alas, I have to pass on some bad news this morning as it looks like veteran screen actress Leslie Parrish has left us. I saw some indications regarding this yesterday on Facebook but wanted to wait until a major news outlet confirmed it. While that hasn't quite happened yet this morning, I did see it reconfirmed by several smaller outlets.
Though the actress hasn't appeared in anything in quite some time (which only means to say younger readers will likely not have heard of her), she was a somewhat regular face from television programs of the 1960's and 1970's. According to her IMDB.com profile, she got her professional start in an uncredited bit from a biographical drama titled A Man Called Peter back in 1955 ... and, as they say, the sky was the limit from there on out. She followed that up with another uncredited role aboard the Academy Award nominated musical Daddy Long Legs, but 'uncredited' opportunities didn't last much longer and audiences were better off for it.
As for genre work?
Well, it really wasn't until 1958 that she was gainfully employed exploring the realms of the Fantastic: Missile To The Moon -- from Layton Film Productions, Inc. and Legend Films -- might otherwise be a forgettable SciFi/Drama, but it does bear the distinction giving the lovely lady (under the name of Marjorie Hellen) of a pretty respectable role for genre fans to find.
Flash forward a few years later, and theatrical Cold War thrillers were all the rage. It was 1962, and one of very best flicks of that type -- indeed, some might argue it's a film amongst the screens very best -- The Manchurian Candidate from M.C. Productions tapped into our deepest fears about identity and consciousness set against the backdrop of a U.S. Presidential campaign. In it, Parrish played 'Jocelyn Jordan,' a somewhat ill-fated woman trapped between two powerful men -- her father and the Manchurian candidate himself, Raymond Shaw (played by Laurence Harvey) -- in a battle for control of these fifty states. While many don't consider the film Science Fiction in any way, I've often argued that it's central use of brainwashing definitely puts the John Frankenheimer-directed masterpiece in a SciFi-adjacent category, one definitely deserving our attention. Plus, it's just an exceptional picture.
Still, it was the period between 1965 and 1967 that likely saw the woman's work truly find grounding in Science Fiction and Fantasy. She paid two visits to The Wild Wild West, one to TV's Tarzan, three to that superhero camp classic that was TV's Batman, and one to Gene Roddenberry's seminal Science Fiction 'wagon train to the stars' -- Star Trek. In the guise of the Enterprise's 'Lieutenant Carolyn Palamas, she captured the eye and heart of an alien entity who took the image of the Greek god Apollo in the Season 2 adventure, "Who Mourns For Adonais?"
About her work aboard one of the greatest television shows ever, Parrish once told an interviewer (according to Facebook) that she considered the appearance a high point in her professional career. "Whenever I watch it, I go right back to the whole thing again and cry my way through it. I relive it," she said. "Of all the work I did, this is outstanding because it is rooted in something I believe so deeply." (Source: Google.com)
Our warmest prayers are extended to the family, friends, and fans of Leslie Parrish.
May she rest in eternal peace ...
-- EZ
Though the actress hasn't appeared in anything in quite some time (which only means to say younger readers will likely not have heard of her), she was a somewhat regular face from television programs of the 1960's and 1970's. According to her IMDB.com profile, she got her professional start in an uncredited bit from a biographical drama titled A Man Called Peter back in 1955 ... and, as they say, the sky was the limit from there on out. She followed that up with another uncredited role aboard the Academy Award nominated musical Daddy Long Legs, but 'uncredited' opportunities didn't last much longer and audiences were better off for it.
As for genre work?
Well, it really wasn't until 1958 that she was gainfully employed exploring the realms of the Fantastic: Missile To The Moon -- from Layton Film Productions, Inc. and Legend Films -- might otherwise be a forgettable SciFi/Drama, but it does bear the distinction giving the lovely lady (under the name of Marjorie Hellen) of a pretty respectable role for genre fans to find.
Flash forward a few years later, and theatrical Cold War thrillers were all the rage. It was 1962, and one of very best flicks of that type -- indeed, some might argue it's a film amongst the screens very best -- The Manchurian Candidate from M.C. Productions tapped into our deepest fears about identity and consciousness set against the backdrop of a U.S. Presidential campaign. In it, Parrish played 'Jocelyn Jordan,' a somewhat ill-fated woman trapped between two powerful men -- her father and the Manchurian candidate himself, Raymond Shaw (played by Laurence Harvey) -- in a battle for control of these fifty states. While many don't consider the film Science Fiction in any way, I've often argued that it's central use of brainwashing definitely puts the John Frankenheimer-directed masterpiece in a SciFi-adjacent category, one definitely deserving our attention. Plus, it's just an exceptional picture.
Still, it was the period between 1965 and 1967 that likely saw the woman's work truly find grounding in Science Fiction and Fantasy. She paid two visits to The Wild Wild West, one to TV's Tarzan, three to that superhero camp classic that was TV's Batman, and one to Gene Roddenberry's seminal Science Fiction 'wagon train to the stars' -- Star Trek. In the guise of the Enterprise's 'Lieutenant Carolyn Palamas, she captured the eye and heart of an alien entity who took the image of the Greek god Apollo in the Season 2 adventure, "Who Mourns For Adonais?"
About her work aboard one of the greatest television shows ever, Parrish once told an interviewer (according to Facebook) that she considered the appearance a high point in her professional career. "Whenever I watch it, I go right back to the whole thing again and cry my way through it. I relive it," she said. "Of all the work I did, this is outstanding because it is rooted in something I believe so deeply." (Source: Google.com)
Our warmest prayers are extended to the family, friends, and fans of Leslie Parrish.
May she rest in eternal peace ...
-- EZ