- Published on
(NOTE: The following review will contain 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 family's home burns under mysterious circumstances after they lose their child. Neighbors whisper of a curse as witnesses give conflicting accounts of the fire's origin, while an unsettling enigma surrounds the household.”
The joy of watching a new film is sometimes spoiled once you arrive at the story’s ultimate destination.
Sometimes, a tale simply chooses to go another direction entirely, one that was impossible to foresee, and that can make for a frustrating experience. Other times, the storyteller might employ some huge twist ending that may or may not have been predictable; and that, too, might muddy the waters enough to leave a bad impression that soils an otherwise good effort. Occasionally, writers and/or directors choose to use the tropes and trappings of a well-known genre project only to pull the rug out in the final reel, showing that what you just experienced wasn’t, say, a Horror flick after all but a cleverly presented human melodrama which conventional explanations for its unconventional packaging.
Mostly, you get the latter with Burning (2024), a nonetheless surprisingly riveting human story showcasing some absolutely incredible acting from a relatively small ensemble. Screenwriters Aizada Amangeldy and Dastan Madalbekov borrow the Rashomon-style framework to spin a complex web of relationships gone awry in more ways than one; and – depending upon one’s perspective (snicker snicker) – they may have you believing that demonic possessions are cultural exaggerations that might hide an even darker secret. While this kind of thing may have been done before, it’s still the kind of thing that works almost always when it’s tried; and thankfully director Radik Eshimov keeps things moving with a master’s focus.
Burning is the story of three people. Marat (played by Ömürbek Izrailov) and Asel’s (Aysanat Edigeeva) young marriage has been broken by the tragic loss of their young son. Distraught over developments he’s seeing in his wife, Marat chooses to have his mother Farida (Kalicha Seydalieva) come to stay with them. While the three of them are gathered together under one roof, events spiral out of control, ultimately leading to a small gas explosion that nearly destroys the home in Burning’s opening sequences.
But – and this is where the magic happens – Burning chooses to explore those dark details from the perspectives of Marat’s watchful neighbors. Jurgal (Ruslan Orozakunov) is the older next-door fellow who believes that the oppressive and dark practices of Farida forced Marat and Asel’s relationship to come apart at the seams; and his accounting of what he’s witnessed is a grand fable complete with Horror and Fantasy that’ll make the stomach churn and the blood run cold. (Seriously, Jurgal’s account is about as gruesome as I’ve seen, so those of you squeamish might need to look away here and there, especially if you’re uncomfortable with vomitting.) Second, Durus (Askar Kachkynbaev) lives across the street; and his version of events would have the kindly Marat having been seduced by the villainous Asel to the point of ruining their life and marriage. Lastly, Aisalkyn (Zhanilai Isakova) – Durus’ wife – believes that it’s only she who knows the truth of poor young Asel’s darkest secret, so she finds it incumbent upon herself to force the truth into the light of day in the finale so that justice might ultimately be served, even at the cost of reputation.
As I’ve stated above, this kind of thing has been done before. In fact, I’ve written many times that 1941’s Citizen Kane is perhaps the best example of one story unfolding through the lens of differing perspectives, but it’s the Japanese effort – 1950’s Rashomon – that scores all of the glory. Naturally, some might suggest that especially in Burning’s case we’re clearly not being given fully witnessed accounts as it grows increasingly clear that none of these versions were seen: as a result, it’s very clear – or, at least, it was to me – that Jurgal, Durus, and Aisalkyn are all interpreting the pieces of a puzzle because they weren’t in the house, in the room, or even in the vicinity to describe what takes place in each of their stories. Just as the people they describe are flawed, so are they; and this is the result of being human – namely, we fill in the gaps in order to justify our respective opinions of others.
Regardless, none of that complaint should take away from the performances here. As the matriarch, Seydalieva turns in a particularly compelling bit of work across the board: audiences are likely chilled to the bone when they see her as a domineering practitioner of the dark arts – one who might be trying to manipulate life itself – only to be equally enthralled once she’s seen as the caring, nurturing, and inquisitive elder who’s merely trying to help a young couple through their unfortunate circumstances. Equally so, Seydalieva delivers an incredible three portraits of the young Asel, two that are victims (though for differing reasons) and a third that’ll have you wishing for an exorcist to intercede immediately. Izrailov – as Marat – never quite gets the chance to shine – he’s fundamentally a bit too similar in acts one and two – though he definitely shows that he can chew scenery with the best of them in the third act. Having grown tired of males being the bad guys in everything these days, I found some of his work a bit too stereotypical; but he still emerges as a talent worthy of notice.
In the end, Burning will likely frustrate as many in the audience as it entertains. Because these three differing accounts can’t be successfully reconciled – there’s just far too much left up to the interpretation of the observer – it might be difficult to accept any of them as authentic. Still, when stories are meant to entertain, this is likely the kind of project you can’t look away from … even if you dare to keep watching …
Burning (2024) was produced by 1.1 Studio. DVD distribution (for this particular release) was provided by the fine folks at IndiePix. As for the technical specifications? While I’m no trained video expert, I can assure readers that the provided sights and sounds are quite good throughout: there was a single sequence I played twice as there was a noticeable dip in audio quality (I thought I’d missed some dialogue but it was just murky), but it’s nothing that impacts the overall experience. Lastly, if you’re looking for special features? Alas, there wasn’t a single item on the disc … and that’s always a miss in my opinion.
Recommended.
Here’s the thing: audiences showing up with the belief that they’ve about to get some incredible Horror entry are likely to be disappointed once they know fully what’s going on, and that’s a risk which sometime accompanies good storytelling, the likes of which Burning (2024) qualifies. Director Eshimov’s film teaches us maybe a bit too preachily in its finale that there are demons out there and yet perhaps they’re not as far off and/or as mystical as we might choose to believe. The plot here is simple and the premise – of experiencing one tale through differing perspectives – may not be all that original, but it works and delivers to those who’ll embrace a much more domestic packaging. This might be the first Kyrgyz film I’ve seen, but it arguably sets a very, very, very high bar for anything that could follow. Well done and relevant.
In the interests of fairness, I’m pleased to disclose that the fine folks at IndiePix provided me with a complimentary Blu-ray of Burning (2024) 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 family's home burns under mysterious circumstances after they lose their child. Neighbors whisper of a curse as witnesses give conflicting accounts of the fire's origin, while an unsettling enigma surrounds the household.”
The joy of watching a new film is sometimes spoiled once you arrive at the story’s ultimate destination.
Sometimes, a tale simply chooses to go another direction entirely, one that was impossible to foresee, and that can make for a frustrating experience. Other times, the storyteller might employ some huge twist ending that may or may not have been predictable; and that, too, might muddy the waters enough to leave a bad impression that soils an otherwise good effort. Occasionally, writers and/or directors choose to use the tropes and trappings of a well-known genre project only to pull the rug out in the final reel, showing that what you just experienced wasn’t, say, a Horror flick after all but a cleverly presented human melodrama which conventional explanations for its unconventional packaging.
Mostly, you get the latter with Burning (2024), a nonetheless surprisingly riveting human story showcasing some absolutely incredible acting from a relatively small ensemble. Screenwriters Aizada Amangeldy and Dastan Madalbekov borrow the Rashomon-style framework to spin a complex web of relationships gone awry in more ways than one; and – depending upon one’s perspective (snicker snicker) – they may have you believing that demonic possessions are cultural exaggerations that might hide an even darker secret. While this kind of thing may have been done before, it’s still the kind of thing that works almost always when it’s tried; and thankfully director Radik Eshimov keeps things moving with a master’s focus.
Burning is the story of three people. Marat (played by Ömürbek Izrailov) and Asel’s (Aysanat Edigeeva) young marriage has been broken by the tragic loss of their young son. Distraught over developments he’s seeing in his wife, Marat chooses to have his mother Farida (Kalicha Seydalieva) come to stay with them. While the three of them are gathered together under one roof, events spiral out of control, ultimately leading to a small gas explosion that nearly destroys the home in Burning’s opening sequences.
But – and this is where the magic happens – Burning chooses to explore those dark details from the perspectives of Marat’s watchful neighbors. Jurgal (Ruslan Orozakunov) is the older next-door fellow who believes that the oppressive and dark practices of Farida forced Marat and Asel’s relationship to come apart at the seams; and his accounting of what he’s witnessed is a grand fable complete with Horror and Fantasy that’ll make the stomach churn and the blood run cold. (Seriously, Jurgal’s account is about as gruesome as I’ve seen, so those of you squeamish might need to look away here and there, especially if you’re uncomfortable with vomitting.) Second, Durus (Askar Kachkynbaev) lives across the street; and his version of events would have the kindly Marat having been seduced by the villainous Asel to the point of ruining their life and marriage. Lastly, Aisalkyn (Zhanilai Isakova) – Durus’ wife – believes that it’s only she who knows the truth of poor young Asel’s darkest secret, so she finds it incumbent upon herself to force the truth into the light of day in the finale so that justice might ultimately be served, even at the cost of reputation.
As I’ve stated above, this kind of thing has been done before. In fact, I’ve written many times that 1941’s Citizen Kane is perhaps the best example of one story unfolding through the lens of differing perspectives, but it’s the Japanese effort – 1950’s Rashomon – that scores all of the glory. Naturally, some might suggest that especially in Burning’s case we’re clearly not being given fully witnessed accounts as it grows increasingly clear that none of these versions were seen: as a result, it’s very clear – or, at least, it was to me – that Jurgal, Durus, and Aisalkyn are all interpreting the pieces of a puzzle because they weren’t in the house, in the room, or even in the vicinity to describe what takes place in each of their stories. Just as the people they describe are flawed, so are they; and this is the result of being human – namely, we fill in the gaps in order to justify our respective opinions of others.
Regardless, none of that complaint should take away from the performances here. As the matriarch, Seydalieva turns in a particularly compelling bit of work across the board: audiences are likely chilled to the bone when they see her as a domineering practitioner of the dark arts – one who might be trying to manipulate life itself – only to be equally enthralled once she’s seen as the caring, nurturing, and inquisitive elder who’s merely trying to help a young couple through their unfortunate circumstances. Equally so, Seydalieva delivers an incredible three portraits of the young Asel, two that are victims (though for differing reasons) and a third that’ll have you wishing for an exorcist to intercede immediately. Izrailov – as Marat – never quite gets the chance to shine – he’s fundamentally a bit too similar in acts one and two – though he definitely shows that he can chew scenery with the best of them in the third act. Having grown tired of males being the bad guys in everything these days, I found some of his work a bit too stereotypical; but he still emerges as a talent worthy of notice.
In the end, Burning will likely frustrate as many in the audience as it entertains. Because these three differing accounts can’t be successfully reconciled – there’s just far too much left up to the interpretation of the observer – it might be difficult to accept any of them as authentic. Still, when stories are meant to entertain, this is likely the kind of project you can’t look away from … even if you dare to keep watching …
Burning (2024) was produced by 1.1 Studio. DVD distribution (for this particular release) was provided by the fine folks at IndiePix. As for the technical specifications? While I’m no trained video expert, I can assure readers that the provided sights and sounds are quite good throughout: there was a single sequence I played twice as there was a noticeable dip in audio quality (I thought I’d missed some dialogue but it was just murky), but it’s nothing that impacts the overall experience. Lastly, if you’re looking for special features? Alas, there wasn’t a single item on the disc … and that’s always a miss in my opinion.
Recommended.
Here’s the thing: audiences showing up with the belief that they’ve about to get some incredible Horror entry are likely to be disappointed once they know fully what’s going on, and that’s a risk which sometime accompanies good storytelling, the likes of which Burning (2024) qualifies. Director Eshimov’s film teaches us maybe a bit too preachily in its finale that there are demons out there and yet perhaps they’re not as far off and/or as mystical as we might choose to believe. The plot here is simple and the premise – of experiencing one tale through differing perspectives – may not be all that original, but it works and delivers to those who’ll embrace a much more domestic packaging. This might be the first Kyrgyz film I’ve seen, but it arguably sets a very, very, very high bar for anything that could follow. Well done and relevant.
In the interests of fairness, I’m pleased to disclose that the fine folks at IndiePix provided me with a complimentary Blu-ray of Burning (2024) 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 1977 (in the U.S.), The Spell cast its spell over home audiences with its broadcast television premiere. Directed by Lee Philips from a story by Brian Taggert, the film starred Lee Grant, Susan Myers, Lelia Goldoni, and others.
According to our friends at IMDB.com, here's the plot summary:
"A teenaged girl, taunted by her schoolmates because she's overweight, uses her supernatural powers to take revenge."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"A teenaged girl, taunted by her schoolmates because she's overweight, uses her supernatural powers to take revenge."
-- EZ
From Google.com:
The Spell is a 1977 American horror television film about a bullied teenager who uses telekinetic powers to exact revenge on her classmates. [1, 2]
Overview and Plot
Cast
Reception and Legacy
Most users on Reddit agree that The Spell is a low-key, made-for-TV imitation of the 1976 hit film Carrie, sharing the exact same telekinetic revenge formula. While it received mixed reviews upon release due to its television constraints and budget limits, it has since gained a cult following among 1970s horror fans and received a Blu-ray release from Scream Factory in 2017. [1, 9, 10, 11, 12, 13]
[1] https://en.wikipedia.org
[2] https://www.wikiwand.com
[3] https://www.youtube.com
[4] https://johnnyalucard.com
[5] https://www.imdb.com
[6] https://www.rottentomatoes.com
[7] https://letterboxd.com
[8] https://classichorrors.club
[9] https://www.reddit.com
[10] https://www.yahoo.com
[11] https://www.youtube.com
[12] https://www.youtube.com
[13] https://every70smovie.blogspot.com
The Spell is a 1977 American horror television film about a bullied teenager who uses telekinetic powers to exact revenge on her classmates. [1, 2]
Overview and Plot
- Release Date: Premiered on NBC on February 20, 1977.
- Director: Lee Philips
- Writer: Brian Taggert
- Runtime: 86 minutes
- Premise: Shy 15-year-old Rita Matchett is tormented by her peers for being overweight. When her anger builds up, she unlocks hidden telekinetic powers and causes dangerous accidents to happen to those who cross her. Her mother, Marilyn, eventually has to step in to stop her, revealing that she possesses the exact same repressed supernatural abilities. [1, 3, 4]
Cast
- Lee Grant plays Marilyn Matchett, the stern mother who tries to contain her daughter's destructive path.
- Susan Myers plays Rita Matchett, the troubled teenager at the center of the terror.
- Helen Hunt plays Kris (Kristina) Matchett, Rita's younger and more popular sister.
- Lelia Goldoni plays Jo Standish, a gym teacher who connects with Rita.
- James Olson plays Mr. Matchett, the father in the household. [1, 3, 4, 5, 6, 7, 8]
Reception and Legacy
Most users on Reddit agree that The Spell is a low-key, made-for-TV imitation of the 1976 hit film Carrie, sharing the exact same telekinetic revenge formula. While it received mixed reviews upon release due to its television constraints and budget limits, it has since gained a cult following among 1970s horror fans and received a Blu-ray release from Scream Factory in 2017. [1, 9, 10, 11, 12, 13]
[1] https://en.wikipedia.org
[2] https://www.wikiwand.com
[3] https://www.youtube.com
[4] https://johnnyalucard.com
[5] https://www.imdb.com
[6] https://www.rottentomatoes.com
[7] https://letterboxd.com
[8] https://classichorrors.club
[9] https://www.reddit.com
[10] https://www.yahoo.com
[11] https://www.youtube.com
[12] https://www.youtube.com
[13] https://every70smovie.blogspot.com
- Published on
in memoriam
The name of Marjoe Gortner may not conjure up any memories for a good portion of SciFiHistory.Net's readership, and that's perfectly okay. The truth is that the man hasn't done anything in the entertainment business for quite some time -- I believe he tired of life in the big city (as they say) and sought out quieter times -- and I know that he was a figure of some controversy as well, especially when it came to the practice of religion. I believe I recall he did some charity work, but I'm honestly at a loss right now to know anything further about his time outside of films and television.
But -- for what it's worth -- he did create a bit of a buzz in fandom all the way back in the late 1970's when he joined no less than Caroline Munro aboard Starcrash (1978), one or earliest attempts for international cinema to capitalize of the wake of George Lucas' Star Wars. While not a particularly good film in any measureable way (I said what I said), it does have its own humble charm for the time and place as writer/director Luigi Cozzi probably had bitten off more than the studio could chew in the effects department. It was the kind of project that entertainment trades of the day gave a good deal of coverage to -- they, too, wanted to create a Star Wars' type buzz -- and I suspect that years later Starcrash is the kind of flick that benefits more from favorable nostalgia than anything else.
Other genre appearances include work aboard Earthquake (1974), The Food Of The Gods (1976), Mausoleum (1983), Fantasy Island, Street Hawk, Otherworld, Hellhole (1985), and Airwolf.
Our warmest prayers are extended to the family, friends, and fans of Marjoe Gortner.
May he rest in peace ...
-- EZ
But -- for what it's worth -- he did create a bit of a buzz in fandom all the way back in the late 1970's when he joined no less than Caroline Munro aboard Starcrash (1978), one or earliest attempts for international cinema to capitalize of the wake of George Lucas' Star Wars. While not a particularly good film in any measureable way (I said what I said), it does have its own humble charm for the time and place as writer/director Luigi Cozzi probably had bitten off more than the studio could chew in the effects department. It was the kind of project that entertainment trades of the day gave a good deal of coverage to -- they, too, wanted to create a Star Wars' type buzz -- and I suspect that years later Starcrash is the kind of flick that benefits more from favorable nostalgia than anything else.
Other genre appearances include work aboard Earthquake (1974), The Food Of The Gods (1976), Mausoleum (1983), Fantasy Island, Street Hawk, Otherworld, Hellhole (1985), and Airwolf.
Our warmest prayers are extended to the family, friends, and fans of Marjoe Gortner.
May he rest in peace ...
-- EZ
- Published on
Folks, you know me: I don't shuck a lot of products. In fact, I generally speaking have avoided transforming SciFiHistory.Net into a platform to push a great deal of whatnot. I'd like to think that this is because, quite frankly, I'm a reasonably discriminating consumer: while I don't buy as much as I used to, I'm still inclined to check out what wares are available in general purchasing circles because on my budget that's what I can best afford as I head into my mostly quiet retirement.
But over the weekend I happened across these nifty little blind box blocks product from Zuru, and I couldn't help myself but pick one up. At $3 a pop, I really couldn't pass it up. While I wasn't quite certain which of the assortment I'd score, I'm thrilled beyond belief for it to have been the fabled snowspeeder, the low altitude craft that featured so prominently in the Battle of Hoth in the first few reels of Star Wars: The Empire Strikes Back.
Will you just look at the detail on this thing?
But over the weekend I happened across these nifty little blind box blocks product from Zuru, and I couldn't help myself but pick one up. At $3 a pop, I really couldn't pass it up. While I wasn't quite certain which of the assortment I'd score, I'm thrilled beyond belief for it to have been the fabled snowspeeder, the low altitude craft that featured so prominently in the Battle of Hoth in the first few reels of Star Wars: The Empire Strikes Back.
Will you just look at the detail on this thing?
As for the particulars, it comes in this liitle drum-style container, and it advertises on the outside that there's only about a dozen pieces requiring assembly. Because I'm a bit poorly coordinated, I figured I'd struggle a bit; and -- in all honesty -- I did ... but that was only because I kept putting the wrong pieces on first. (Go figure!) Once I figured out the proper configuration, this thing went together like a dream -- no Force powers needed -- and it looks just so damn good I couldn't help but share it in this space for like-minded souls.
Now, glue is NOT required, and yet for those of you who might be as clumsy as I it would be no trouble adding a dab here and there to make certain that this little thing never comes apart. While Star Wars purists might suggest that it's a bit incomplete given that there's no rear cable gun (as figures prominently into the story) that's truly a minor trade-off given the attention to detail that the fine folks at Zuru gave in bringing these things to life.
Now, glue is NOT required, and yet for those of you who might be as clumsy as I it would be no trouble adding a dab here and there to make certain that this little thing never comes apart. While Star Wars purists might suggest that it's a bit incomplete given that there's no rear cable gun (as figures prominently into the story) that's truly a minor trade-off given the attention to detail that the fine folks at Zuru gave in bringing these things to life.
Instructions are included (they're printed on the flip side to this little insert pictured above). While the emphasis her might initially seem to be on helmets, I can assure you that I was so thrilled with my snowspeeder that I'm heading back to WalMart today to pick up a few more blind boxes because the workmanship is SO DAMN IMPRESSIVE and THE PRICE POINT IS PERFECT. If you're a Star Wars fan still in the workplace, this would look great on a desk ... or if you're got a wee bit of space in your wall curios or the like these extras would look right at home making your collection stand out.
Most important?
What with the silly season just right around the corner, these are PERFECT for stocking stuffers for the young or -- like me -- the young-at-heart!
Consider yourself informed!
May the Force be with us. Always!
-- EZ
Most important?
What with the silly season just right around the corner, these are PERFECT for stocking stuffers for the young or -- like me -- the young-at-heart!
Consider yourself informed!
May the Force be with us. Always!
-- EZ
- Published on
site update
so many movies ... so little time ...
On this day in 2023 (in Spain), Sister Death (aka Hermana Muerte) enjoyed its big theatrical premiere when it was first screened for audiences of the Sitges Film Festival. Written (in part) and directed by Paco Plaza, the film starred Aria Bedmar, Maru Valdivielso, Luisa Merelas, and others.
According to our friends at IMDB.com, here's the plot summary:
"After a childhood marked by a miracle, Narcisa, a novice nun joins a school to teach young girls."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"After a childhood marked by a miracle, Narcisa, a novice nun joins a school to teach young girls."
-- EZ
From Google.com:
Sister Death (Hermana Muerte) is a 2023 Spanish supernatural horror film directed by Paco Plaza and streaming on Netflix. [1, 2]
Overview and Connection
Plot Summary
Cast
[1] https://en.wikipedia.org
[2] https://www.rottentomatoes.com
[3] https://www.imdb.com
[4] https://www.imdb.com
[5] https://malevolentdark.com
[6] https://www.youtube.com
Sister Death (Hermana Muerte) is a 2023 Spanish supernatural horror film directed by Paco Plaza and streaming on Netflix. [1, 2]
Overview and Connection
- Prequel Status: It serves as a prequel to Plaza's 2017 horror film Verónica, exploring the tragic backstory of the elderly blind nun known as "Sister Death".
- Setting: The story is set in 1949, in post-war Spain, inside a former convent that now operates as a school for girls. [1, 3, 4]
Plot Summary
- The Arrival: Narcisa (Aria Bedmar), a young novice nun who was revered as a miraculous child with supernatural abilities, arrives at the convent to work as a teacher.
- Dark Discoveries: Narcisa soon experiences terrifying visions, nightmares, and paranormal phenomena linked to a dark historical secret involving a nun named Socorro and a tragic death during the Spanish Civil War.
- The Resolution: As she untangles the violent past of the convent, Narcisa unlocks a chilling legacy that transforms her path into the haunting figure seen decades later in Verónica. [1, 3, 4, 5, 6]
Cast
- Aria Bedmar stars as Sister Narcisa – a young, gifted novice facing the terrifying realities of the haunted convent.
- Almudena Amor plays a supporting role in the atmospheric, critically praised ensemble.
- Maru Valdivielso portrays Sister Julia – one of the strict resident nuns tied to the convent's dark history. [1, 2, 3]
[1] https://en.wikipedia.org
[2] https://www.rottentomatoes.com
[3] https://www.imdb.com
[4] https://www.imdb.com
[5] https://malevolentdark.com
[6] https://www.youtube.com
- Published on
site update
so many movies ... so little time ...
On this day in 2022 (in the U.S.), audiences in attendance of the Beyond Fest were treated to the big screen premiere of Christmas Bloody Christmas. Written and directed by Joe Begos, the film starred Riley Dandy, Sam Delich, Jonah Ray, and others.
According to our friends at IMDB.com, here's the plot summary:
"It's Christmas Eve and Tori just wants to get drunk and party, but when a robotic Santa Claus at a nearby toy store goes haywire and begins a rampant killing spree through her small town, she's forced into a battle for survival."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"It's Christmas Eve and Tori just wants to get drunk and party, but when a robotic Santa Claus at a nearby toy store goes haywire and begins a rampant killing spree through her small town, she's forced into a battle for survival."
-- EZ
From Google.com:
Christmas Bloody Christmas is a 2022 holiday slasher movie about a military-grade robotic Santa Claus that goes haywire and embarks on a brutal killing spree on Christmas Eve. [1, 2]
Plot and Premise
The Killer Robot: A decommissioned animatronic Santa, originally designed by the U.S. Defense Department as a military killing machine, malfunctions after being retooled for holiday promotions in a local toy store.
Cast and Crew
Style and Reception
[1] https://en.wikipedia.org
[2] https://www.youtube.com
[3] https://www.imdb.com
[4] https://www.youtube.com
[5] https://www.plmcmillan.com
[6] https://www.youtube.com
[7] https://www.rottentomatoes.com
[8] https://www.reddit.com
Christmas Bloody Christmas is a 2022 holiday slasher movie about a military-grade robotic Santa Claus that goes haywire and embarks on a brutal killing spree on Christmas Eve. [1, 2]
Plot and Premise
The Killer Robot: A decommissioned animatronic Santa, originally designed by the U.S. Defense Department as a military killing machine, malfunctions after being retooled for holiday promotions in a local toy store.
- The Targets: Fiery record store owner Tori Tooms and her employee Robbie just want to drink, party, and argue about music on Christmas Eve, but their plans turn into a fight for survival against the axe-wielding robotic menace.
- The Climax: Tori becomes the ultimate final girl, facing off in a relentless, multi-phase battle to slowly dismantle the unstoppable mechanical killer. [1, 2, 3, 4]
Cast and Crew
- Joe Begos: Wrote and directed the film, bringing his signature neon-drenched, high-intensity grindhouse style.
- Riley Dandy: Stars as the stubborn, record-store-owning protagonist Tori Tooms.
- Sam Delich: Plays Robbie, Tori's loyal and fast-talking employee.
- Abraham Benrubi: Portrays the imposing, Terminator-esque Robo-Santa. [1, 5, 6]
Style and Reception
- Aesthetics: The movie is defined by an oversaturated neon color palette, heavy holiday lighting, a synth-heavy score, and intense practical gore effects.
- Audience Reception: Opinions on Reddit are mixed opinions; some viewers love its campy, heavy-metal energy and gory kills for a holiday watch rotation, while others find the dialogue-heavy first half slow. On Rotten Tomatoes, it holds a 78% critic score alongside a lower audience rating. [2, 6, 7, 8]
[1] https://en.wikipedia.org
[2] https://www.youtube.com
[3] https://www.imdb.com
[4] https://www.youtube.com
[5] https://www.plmcmillan.com
[6] https://www.youtube.com
[7] https://www.rottentomatoes.com
[8] https://www.reddit.com
- Published on
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On this day in 2006 (in the U.S.), audiences in attendance of the Eerie Horror Film Festival were treated to the theatrical premiere of Butcher House. Written (in part) and directed by Christopher Hutson, the film starred Laila Dagher, Cooney Horvath, Erin Fleming, and others.
According to our friends at IMDB.com, here's the plot summary:
"In the 1960's at Arthur Kingston's old butcher house blood and guts were routine. That all changed one night when the blood spilled was human. At the hand of a murderous, rampaging butcher, two workers and the owner's son were killed. The factory was shut down. Decades pass. The massacre became a legend, but the abandoned butcher house still held the evil in its halls. As six teenagers explore the old butcher house, they unleash the horror that lies within."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"In the 1960's at Arthur Kingston's old butcher house blood and guts were routine. That all changed one night when the blood spilled was human. At the hand of a murderous, rampaging butcher, two workers and the owner's son were killed. The factory was shut down. Decades pass. The massacre became a legend, but the abandoned butcher house still held the evil in its halls. As six teenagers explore the old butcher house, they unleash the horror that lies within."
-- EZ
From Google.com:
Butcher House is a 2006 independent horror movie directed by Christopher Hutson. [1, 2]
Overview
Plot
SummaryIn the mid-1960s, at Arthur Kingston's slaughterhouse, a worker becomes possessed by an ancient Aztec spirit and goes on a murderous rampage, killing co-workers and the owner's eldest son. The factory is subsequently shut down and abandoned, turning the event into a dark local legend. Decades later, a real estate developer buys the property to convert it into condos and sends his son along with five friends to clear out the building. The teenagers accidentally awaken the evil butcher spirit, leading to a bloody and gruesome killing spree. [4, 5]
Main Cast
[1] https://www.rottentomatoes.com
[2] https://www.filmaffinity.com
[3] https://www.imdb.com
[4] https://www.imdb.com
[5] https://www.imdb.com
[6] https://www.imdb.com
Butcher House is a 2006 independent horror movie directed by Christopher Hutson. [1, 2]
Overview
- Release Date: October 5, 2006 (Eerie Horror Film Festival)
- Genre: Horror / Slasher
- Runtime: 1 hour 24 minutes (or 90 minutes) [1, 2, 3, 4]
Plot
SummaryIn the mid-1960s, at Arthur Kingston's slaughterhouse, a worker becomes possessed by an ancient Aztec spirit and goes on a murderous rampage, killing co-workers and the owner's eldest son. The factory is subsequently shut down and abandoned, turning the event into a dark local legend. Decades later, a real estate developer buys the property to convert it into condos and sends his son along with five friends to clear out the building. The teenagers accidentally awaken the evil butcher spirit, leading to a bloody and gruesome killing spree. [4, 5]
Main Cast
- Sherwood Scott plays The Butcher – The murderous worker possessed by an ancient spirit.
- Cooney Horvath plays Tyler Williams – The son of the property developer sent to clear the building.
- Jay Costelo plays Josh – One of the exploring teenagers.
- Laila Dagher plays Annie
- Erin Fleming plays Jamie
- Erin Cowden plays Karla
- Peter Berube plays Blake
- James C. Burns plays Stan Williams – The developer father. [4, 6]
[1] https://www.rottentomatoes.com
[2] https://www.filmaffinity.com
[3] https://www.imdb.com
[4] https://www.imdb.com
[5] https://www.imdb.com
[6] https://www.imdb.com
- Published on
On this day in 1974 (in the U.S.), the good people of Austin, Texas were treated to the future of Horror when The Texas Chain Saw Massacre took its first fateful swings. Written (in part) and directed by Tobe Hooper, the film starred Marilyn Burns, Edwin Neal, Allen Danziger, and others.
According to our friends at IMDB.com, here's the plot summary:
"Five friends head out to rural Texas to visit the grave of a grandfather. On the way they stumble across what appears to be a deserted house, only to discover something sinister within. Something armed with a chainsaw."
For the record:
ExtraExtra Alert:
In 2023, I received an all-new promotional release of The Texas Chain Saw Massacre from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Five friends head out to rural Texas to visit the grave of a grandfather. On the way they stumble across what appears to be a deserted house, only to discover something sinister within. Something armed with a chainsaw."
For the record:
- During the film's original run, Massacre earned a bit of praise from screenings on the film festival circuit.
- In 2024, The Texas Chain Saw Massacre was inducted into the U.S.'s National Film Registry, that organization that seeks to preserve productions that have contributed to the lasting legacy of the cinemas.
ExtraExtra Alert:
In 2023, I received an all-new promotional release of The Texas Chain Saw Massacre from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
From Google.com:
- The false "true story" claim: The movie famously opens by claiming the events depicted are real, which was a marketing ploy. While the character of Leatherface was loosely inspired by real-life Wisconsin killer Ed Gein, the entire plot and family of cannibals were completely fictional. [1, 2]
- A hardware store epiphany: Director Tobe Hooper came up with the idea for the movie while Christmas shopping in a crowded hardware store. Frustrated by the dense crowd blocking his way, he looked at a display of chainsaws and thought about how quickly he could clear a path through the people.
- The brutal, unwashed heat: Filmed during a sweltering Texas summer in temperatures over 100°F, the low budget meant actor Gunnar Hansen (Leatherface) wore the exact same unwashed polyester shirt for four straight weeks. By the end of production, the stench was so unbearable that the rest of the cast actively avoided him off-camera. [1, 2]
- Published on
On this day in 1968 (in the U.S.), the good people of Pittsburgh, Pennsylvania were treated to the cinematic birth of a phenomenon with the premiere of Night Of The Living Dead. Written (in part) and directed by George A. Romero, the Fantasy/Horror starred Duane Jones, Judith O'Dea, Karl Hardman, and others.
According to our friends at IMDB.com, here's the plot summary:
"A ragtag group of Pennsylvanians barricade themselves in an old farmhouse to remain safe from a horde of flesh-eating ghouls that are ravaging the East Coast of the United States."
For the record:
On top of giving birth to the Romero franchise, Night Of The Living Dead has spawned a hell of a lot of impersonators, advancing the whole premise of film zombies to the masses-at-large. In 1999, the motion picture was added to the U.S.'s National Film Registry, the organization that seeks to preserve films for their lasting contribution to the arts.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"A ragtag group of Pennsylvanians barricade themselves in an old farmhouse to remain safe from a horde of flesh-eating ghouls that are ravaging the East Coast of the United States."
For the record:
On top of giving birth to the Romero franchise, Night Of The Living Dead has spawned a hell of a lot of impersonators, advancing the whole premise of film zombies to the masses-at-large. In 1999, the motion picture was added to the U.S.'s National Film Registry, the organization that seeks to preserve films for their lasting contribution to the arts.
-- EZ
From Google.com:
- The Accidental Public Domain Status: Due to a title change from Night of the Anubis to Night of the Living Dead, the distributor forgot to include the proper copyright notice on the title frames. Under 1968 U.S. law, this oversight instantly plunged the film into the public domain, costing the creators millions in potential royalties even though the movie grossed roughly $30 million on a $114,000 budget. [1, 2, 3, 4, 5]
- A Groundbreaking Cast: Lead actor Duane Jones was cast as Ben simply because he gave the best audition, making him one of the first African American actors to play the heroic, non-stereotypical lead of a mainstream horror movie. The tragic, racially charged final shot of the film took on profound, unintended resonance in the wake of Martin Luther King Jr.’s assassination earlier that year. [1, 2, 3]
- Chocolate Sauce and Roast Ham: During the gruesome scene where ghouls feast on remains inside a burned-out truck, the flesh they were actually eating was roast ham covered in chocolate syrup. The mix smelled so nauseating under the hot lights that the actors playing the zombies looked genuinely sick on camera.
- Published on
Think of me what you will but The Brain From Planet Arous looks and sounds like the kind of SciFi shlock I grew up and loved watching when I was a young'un. It premiered on this day in 1957 (in the U.S.). Directed by Nathan Juran from a story by Ray Buffum, the SciFi/Horror starred John Agar, Joyce Meadows, Robert Fuller, and others.
According to our friends at IMDB.com, here's the plot summary:
"Gor, a powerful criminal brain from the planet Arous, assumes the body of scientist Steve March. Through March, he begins to control the world by threatening destruction to any country challenging his domination. Another brain, Val, works with March's future wife Sally to defeat Gor. Val explains that Gor will be vulnerable when he is forced to leave March at intervals to re-energize. Gor's vulnerable spot, the Fissure of Orlando, is described in a note left by Sally in Steve's lab."
ExtraExtra Alert:
In 2022, I was provided with a complimentary Blu-ray of The Brain From Planet Arous by the good folks at The Film Detective. I was all too happy to pen a review for this curious oddity from SciFi's early days, and interested readers can find it right here.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Gor, a powerful criminal brain from the planet Arous, assumes the body of scientist Steve March. Through March, he begins to control the world by threatening destruction to any country challenging his domination. Another brain, Val, works with March's future wife Sally to defeat Gor. Val explains that Gor will be vulnerable when he is forced to leave March at intervals to re-energize. Gor's vulnerable spot, the Fissure of Orlando, is described in a note left by Sally in Steve's lab."
ExtraExtra Alert:
In 2022, I was provided with a complimentary Blu-ray of The Brain From Planet Arous by the good folks at The Film Detective. I was all too happy to pen a review for this curious oddity from SciFi's early days, and interested readers can find it right here.
-- EZ
From Google.com:
- Painful Glowing Eyes: To achieve the crazed, glowing look of the possessed Steve March, actor John Agar wore extremely thick black contact lenses (lined with metal foil/created by legendary makeup artist Jack Pierce) that were notoriously painful to keep in his eyes.
- Poster Cost More Than the Movie: Lead actress Joyce Meadows did not realize the film had a cult following until 1985 when an autograph show invited her; a memorabilia dealer quoted her $650 for an original lobby poster, prompting her to gasp, "My god, the movie didn't even cost that much to make!"
- A Director's Shame: Director Nathan Juran was so embarrassed by the final cut of the ultra-low-budget feature that he asked the studio to remove his name and credit him under the pseudonym Nathan Herz instead. [1, 2, 3, 4]