Author: The Blogging Banshee

Ever since my sister forced my to watch A Nightmare on Elm Street when I was four years old I have been hooked on horror movies. It doesn't take much for me to be entertained by a scary movie, but I can definitely be critical enough to give a decent review. Some of the most important things to me in a horror film are character development, cohesive plot lines, and of course an exciting twist! For me, the scariest movies will always be ghost and haunting films (probably because they seem the most realistic to me). Please feel free to give input on my reviews or suggest movies for me to watch. Email: thebloggingbanshee@gmail.com Facebook: facebook.com/thebloggingbanshee Twitter: @BloggingBanshee Instagram: blogging.banshee ________________________________ Special thanks to the Editing Elf (aka, my husband) for proofreading all my reviews before I post them.

Creepshow: Season 1 Episode 3

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This week brings another all new episode of Shudder’s hit series, Creepshow. While the first two episodes had tonally similar segments, either both being spooky or both being humorous, this episode brings viewers a bit more variety.

First up is a Halloween-inspired segment titled “All Hallow’s Eve.” Here the story follows a group of teens on Halloween night. They’re probably a bit too old to go trick-or-treating, but they claim it will be their last time. As the friends venture out to collect their treat, it becomes clear they are looking for more than just candy and the townspeople dread these trick-or-treaters. This fun little throwback is written by Bruce Jones (Deadly Nightmares, Masters of Horror) and directed by John Harrison (Dune, Tales From the Darkside: The Movie).

This first segment of episode 2 has a very nostalgic feel to it. The style looks like something out of the 90’s, as do the costumes worn by our trick-or-treaters. It gives the overall look and feel of an episode of Goosebumps or Are You Afraid of the Dark? While some viewers might not appreciate this style and prefer more of the effects heavy 80’s horror typically associated with Creepshow, I personally loved “All Hallow’s Eve.” It took me back to my childhood and delivers a great classic Halloween tale.

There aren’t many effects in this story, but the four teens deliver strong performances. “All Hallow’s Eve” stars Connor Christie (Missionary) as Pete, Madison Thompson (Henry Danger) as Jill, Jasun Jabbar Wardlaw Jr. (Black Lightning) as Binky, and Andrew Eakle (Crimetime) as Bobby. While all of them want this to be their last Halloween night, Pete and Jill are clearly the more mature of the group and rein the other two in while Binky and Bobby enjoy a bit of mischief. These kids all feel like normal every day teens, but they all do a great job of gradually showing why there is more than meets the eye.

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The second segment is “The Man in the Suitcase,” directed by Dave Bruckner (The Ritual, V/H/S) and written by Christopher Buehlman in his debut as a screenwriter. In this segment we meet a down on his luck college student. After accidentally taking home the wrong suitcase from the airpot, he discovers a man trapped inside. Even more bizarre is the man seems to cough up gold coins whenever he’s in pain.

Horror fans who are familiar with Bruckner’s films likely know his films tend to be very dark, atmospheric, and sometimes rather terrifying. “The Man in the Suitcase” is a huge departure from that, leaning more towards a dark comedic tone. What makes the story so compelling is it creates a scenario where the viewer is forced to think about what they would do in a similar situation. Would you free the man from the suitcase or would you inflict pain upon him in order to get rich on his gold coins?

While the entire cast does a great job, there are two clear standouts. Will Kindrachuk (Preacher, Boy Erased) stars as Justin. Justin is the one who finds the suitcase. Kindrachuk excels at portraying Justin as he grapples with his desire for the gold and his desire to be a good person. Opposite him is Ravi Naidu (The Hunger Games: Catching Fire, Homeland) as the man in the suitcase. From the unfortunate position his character finds himself in to the way he manages to exude pain in a darkly comical way, Naidu gives it his all in this performance.

It was nice to finally get two tonally different stories in a single episode of Creepshow. The series is truly showing a diverse range of tales that can appeal to many different types of horror fans. At times, the budgetary constraints of the show can be felt, but it still stays true to the look and feel of the film that inspired the series.

You can catch this episode of Creepshow today on Shudder.

Creepshow: Season 1 Episode 2

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After a successful first episode, it’s time for episode two of Shudder’s hit new series, Creepshow. This week features two tales that lean more towards the comedic side compared to what fans saw in episode one. The two stories told in this episode are “Bad Wolf Down” and “The Finger.” These are two very different tales, but each one is sure to deliver the laughs.

The episode starts with “Bad Wolf Down.” This segment is written and directed by Rob Schrab (Monster House, The Sarah Silverman Program). The plot follows a small band of American soldiers fighting Nazis in France during WWII. They are forced to retreat and take shelter in a small building that once served as the jail for the remote area. Inside the men find a French woman locked inside the jail cell. Yet this woman isn’t as helpless as she appears.

“Bad Wolf Down” definitely takes the audience back to 80’s b-horror films with clunky dialogue, overacting, and somewhat laughable practical effects. This is clearly a deliberate choice made by Schrab. It is an intentional cheesiness that creates a hilarious throwback for horror fans. The most humorous aspect is the dialogue. Much of what the soldiers say to each other is so over the top and stereotypical of what you might expect soldiers to say to each other. It’s almost impossible not to laugh.

Of all the actors in this segment, horror fans will immediately recognize Jeffrey Combs (Re-Animator, From Beyond) as the vengeful Nazi commander, Reinhard. Combs is a gem and a great comedic actor, which leads me to believe his absolutely atrocious German accent is another purposeful choice to add to the humor. The other standout performances come from Dave MacDonald (Stranger Things, Doom Patrol) as Captain Talby, Scott “Kid Cudi” Miscudi (Need For Speed, Two Night Stand) as Doc Kessler, and Callan Wilson (A Mermaid’s Tale, All Hallow’s Evil: Lord of the Harvest) as Pvt. Rivers.

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So far, “Bad Wolf Down” has utilized the comic book style that normally bookends the stories more than any other segment. Some of this is more subtle, like including the blue and red backlighting fans will likely recognize from the first Creepshow film. Since this is a werewolf story, there is naturally a scene where the viewer is shown people transforming from a person to a wolf. Schrab and team wisely used the comic book style to show the transformation in an animated comic panel rather than blowing the budget on practical effects. It looks great, is smart and unique, plus it adds to the humor. The werewolves themselves are also a bit on the cheesy side, but each wolf has a really fun and individual look to them.

From there our beloved creep flips open a new comic for the second segment. This one is titled “The Finger.” Written by David J. Schow (The Crow, The Texas Chainsaw Massacre [2006]) and directed by Greg Nicotero (The Walking Dead), the story introduces viewers to a man named Clark. Clark likes to collect things other people would likely consider garbage. One day he finds a weird, shriveled up finger. He takes it home and realizes it is growing; first an arm, then an entire body. He names the strange creature Bob and cares for it, but Bob has a murderous way of showing his affection.

This is an absolutely laugh out loud story. “The Finger” stars DJ Qualls (Supernatural, The Core) as Clark. Clark is kind of a loner, so when Bob comes into his life he’s happy to care for the strange creature. Qualls’ performance is hysterical for two main reasons. First, he often breaks the fourth wall to talk directly to the audience, giving amusing commentary and summarizing events to save time. Second, he reacts to the bloody things Bob does the same way someone might react to their cat being annoying or bringing him a dead mouse. It is entirely relatable, but taken to such an unbelievable extreme it is sure to make viewers crack up.

“The Finger” also includes amazing practical effects. From the lone finger to the body that eventually grows out of it, Bob is a gross and creepy little creature that you also want to cuddle because he’s so cute. It is great creature design that fans are sure to remember as the series continues. On top of that, the little presents Bob brings home for Clark are also very well done. The entire episode is filled with fantastic practical effects, as one would expect in something directed by Nicotero.

Episode two of Shudder’s Creepshow took the series in a much more humorous direction. Both “Bad Wolf Down” and “The Finger” deliver laughs, although they are very different types of humor. On top of that, the performances are highly entertaining and the practical effects are delightful, even the somewhat hokier werewolves of “Bad Wolf Down.” Just like the first episode, be sure to look for the hidden Easter eggs in episode two, including a special quick cameo in “The Finger.”

The second episode of Creepshow will be available to stream on Shudder on Thursday, October 3rd. You can also watch it live on the Shudder channel at 9pm EST/6pm PST the same night.

The Furies

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A woman and her friend are kidnapped during the night. She wakes up the next day and finds herself in a box alone in the Australian wilderness. Soon she realizes not only are there other women trapped here, but there are also hulking men wearing terrifying masks out to kill the young women. It’s a fight for survival and no one can be trusted.

Writer and director Tony D’Aquino makes his feature film debut with the Australian thriller, The Furies. From the opening shot D’Aquino makes it clear this is going to be a feminist take on slashers as two of the female characters are shown spray painting “FUCK PATRIARCHY” on a wall. This moment between the two women is very brief, but still manages to establish who the characters are before throwing them into peril. From there the filmmakers waste no time in delivering high-octane thrills. Once the women are thrown into the remote Australian setting they have to battle masked madmen, those who have trapped them all here, and each other. It’s a relatively simple plot that relies heavily on the bloodshed and mayhem, but D’Aquino manages to make it feel fun and different.

There are many aspects of this plot that make it interesting and unique. One obvious difference from other similar films is how these women and killers ended up in this remote location together. The women were obviously kidnapped and brought to this place, but the surprise is that the killers appear to have arrived the same way. The boxes the women arrived in are all marked “beauty” and the boxes the men arrived in are marked “beast.” The people who brought everyone to this place are clearly very organized and use advanced technology which creates an odd dynamic between all the captives and interesting sets of rules they must follow. Another interesting aspect is how the female lead, Kayla, not only acts as a feminist icon, but she also shows how women with physical or mental illnesses are as capable as anyone else. Kayla has epilepsy. She has always seen this as a hindrance to her being an independent woman, yet it gives her a strange advantage when she is thrown into the twisted cat and mouse game. It allows her to see that she is capable of being a self-reliant warrior woman. All of the other woman are also quite compelling characters because none of them fit into any stereotype often seen in horror films.

Since the vicious men in the film don’t speak a single word, the women of The Furies carry the performances. Airlie Dodds (Killing Ground, Ready for This) stars as Kayla. She starts out in the film as very meek and she is convinced her illness keeps her from being able to take care of herself and live life to the fullest. Dodds does a fantastic job of showing Kayla evolve throughout the film as she is thrown one curveball after another. Linda Ngo (Mako Mermaids, Top of the Lake) plays another captive in this deranged game, Rose. Rose is an interesting character because she is slightly odd and innocent, but there is also something hidden just beneath the surface that is waiting to be released. Ngo is quite memorable in her portrayal of Rose and how easily she straddles the line between naive and creepy.

This film doesn’t hold back on the gore and luckily the practical effects are fantastic. The first thing viewers will notice is the truly disturbing masks worn by the killers. Each one is very distinct, unique, and terrifying. The practical effects of the various wounds and kills are so well done. They look incredibly realistic to the point where some viewers might have to turn away. In addition to the effects, the way the film is shot also gives it a unique look. As soon as Kayla emerges from the box, the entire film has a white-washed look to it. The filtering and color palette are clearly meant to add to the barren and sun-scorched Australian landscape. This appearance not only adds to the idea that the setting is exceedingly hot, but it also makes the blood and gore stand out as the most vibrant colors.

The Furies delivers a unique slasher dripping with girl-power and gore. This is a very strong feature film debut for D’Aquino. He manages to deliver a film that is familiar, yet injects intricacies that make the plot still feel fresh. Each performance is great from the dynamic women to the physical acting of the killer men. All of the gore hounds out there will have a ball watching this film with it’s fantastic practical effects and others, who like a bit more depth to their slashers, will enjoy the fascinating rules the film puts into place. Not only is this film sure to be on many must-watch lists this October, but it also has the potential to spawn a new horror franchise.

OVERALL RATING: 7/10

Harpoon

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Three friends go out for a day pleasure cruise. While out at sea, tensions flare and horrible choices are made. The group is left adrift in the middle of the ocean with no food, no water, no radio, and no working engine. As the yacht endlessly floats, sexual tension and deep dark secrets are forced to the surface with disastrous consequences.

Writer and director Rob Grant (Desolate, Alive) brings the darkest of dark horror comedies with his latest film, Harpoon. A narrator sets the tone for the film with sarcastic and cynical monologues introducing viewers to the three main characters. Then, when the characters are finally brought together for the first time, an explosive burst of violence perfectly shows the tumultuous and deranged relationship these people have. How quickly they go from a physical altercation to going for a day cruise on a yacht makes it very clear that there are a lot of deep rooted issues with these three friends just waiting to bubble up to the surface. It leads to some truly gruesome and hilarious hijinks as things go from bad, to worse, to complete and utter disaster. All the while, the narrator continues to describe the disturbing events in ways that are sure to make the viewer laugh at the most inappropriate times. There are also some great long-running jokes throughout the film. Even the name of the film is a joke because there is in fact not one harpoon in the entire film.

One of the most interesting things about Harpoon is that it does something I usually hate in horror films, yet Grant makes it work. Typically, it bothers me when none of the characters have any redeeming qualities because then I don’t care about their fates and it kills the suspense. All three people trapped on the yacht are really despicable people in various ways and to differing degrees, yet it works exceedingly well in this context. We aren’t meant to really feel for these people. We are meant to be shocked by what happens while also cracking up at the unfortunate events that befall the group. It is the perfect combination of horror and humor that doesn’t make the viewer feel ashamed for laughing at their misfortune.

The entire small cast delivers memorable performances. Budding horror film star Munro Chambers (Riot Girls, Turbo Kid) plays Jonah. Chambers has been making his mark in genre films over the past couple years and his performance as the tragic Jonah is another great success. Jonah’s intentions sometimes appear to be good, but there are many layers hidden within that really allow Chambers to show off his acting prowess. One of the surprises of the film is Emily Tyra (Flesh and Bone, Ring Ring) as Sasha. Of all the characters, Sasha comes across as the most levelheaded. It is her knowledge and resolve that help keep the group alive and Tyra shines in the role. Christopher Gray (The Mist, The Society) plays Sasha’s boyfriend and the owner of the yacht, Richard. Richard is the epitome of the rich, white, privileged guy you can’t help but hate, yet Gray also manages to make him the most hilarious character in the film. Between his great dialogue and his anger issues, Gray is sure to give the audience a good laugh. All three actors play off of each other incredibly well and their on-screen chemistry truly makes it feel like they have known each other for years.

The sets, practical effects, and filming techniques allow for a lot of visual interest throughout Harpoon. Really there is one set for 90% of the film – the yacht. It is a fairly spacious boat, but when three people are stranded on it with nothing but open water as far as the eye can see it definitely becomes claustrophobic. There is something about being adrift in the vast abyss of the ocean that is truly terrifying. That terror is intensified by the surprising amount of gore. There are bruises, cuts, infections, and copious amounts of blood and all of it looks disgustingly real. With the film taking place on a yacht at sea, there are some great opportunities for interesting cinematography. Yet what stands out are a couple flashback scenes that connect the events of the film to events of the past in a way that adds to the plot while also giving the viewer something fun to look at.

Harpoon abandons a group of dysfunctional friends adrift on a yacht and lets the insanity unfold in this dark horror comedy. It is a relatively simple plot that Grant manages to inject with memorable moments and humor. While the characters are all horrible people, it makes it much more entertaining to watch them deteriorate and turn against each other and the performances from all three actors are fantastic. This film definitely won’t be everyone’s cup of tea, but it is exactly the kind of deranged humor I can’t get enough of.

OVERALL RATING: 8.5/10

In the Tall Grass

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A brother and sister on a cross-country drive pull over in a remote part of middle America. While stopped, they hear a young boy calling for help in a field of very tall grass. The siblings decide they have to go into the field to help the boy. It doesn’t take long for the two to become separated and soon they realize there is something sinister about the grass.

Based on the novella by Stephen King and Joe Hill, writer and director Vincenzo Natali (Cube, Splice) brings In the Tall Grass from the page to the screen. This sci-fi horror mash-up begins with the brother and sister. They are lured into the field of grass, which appears to be at least 8 feet tall, and quickly find themselves separated and lost in the abyss of green. There also seems to be a family separated and lost in the grass, but their intentions aren’t very clear. It isn’t until the sister’s ex-boyfriend comes looking for her that the mystery slowly begins to unravel. The film plays with some ideas that will feel familiar to fans of this particular type of horror, while also managing to create something thrilling and unique. The plot takes the very simple idea of being lost in a virtual sea of grass that rises high above the average person’s head and expertly turns it into something much more complex.

The tension of In the Tall Grass can be felt almost immediately. Each part of the plot builds this tension from the young boy calling the siblings into the grass, to the siblings immediately getting separated, to the simple fact that the sister is pregnant, and to the various people in the grass not being trustworthy. Even the grass itself adds to the suspense. It is so tall and it seems to go on forever, generating an extremely claustrophobic feel as the audience sees from the point of view of those trapped in the grass. From there the suspense and the plot become much more complex. Whatever entity or energy exists within the grass, it has the ability to play with all the laws of physics humans have come to know. Time and space mean nothing in the tall grass. Being in the grass creates a sort of time loop, which is a popular concept in many recent horror films, yet In the Tall Grass still manages to make it feel unique. There is also a great element of the unknown. The film hints at the ancient power within the field and other specific elements, but nothing is overtly explained. There is just enough shown to create a mythos, but a majority of why these horrible things are happening is left a mystery. There is one aspect of the mythos in the climax that is rather horrifying. It is the one aspect that is not explained that really should have been as it leaves a gaping whole where the answer should be.

The cast of the film is primarily made up of lesser-known actors, with the exception of one name horror fans are sure to recognize. Laysla De Oliveira (Guest of Honour, Locke & Key) stars as the pregnant Becky. Oliveira does a fantastic job of conveying Becky’s vulnerability in her pregnant state, yet that pregnancy is also what makes her more determined to survive and escape the grass. Equally determined is her ex-boyfriend, Travis, played by Harrison Gilbertson (Need for Speed, Upgrade). Travis’s determination comes from wanting to save his unborn baby and the woman he loves. Gilbertson also delivers a compelling performance in this role. The surprise performance of the film comes from the most famous of the actors, Patrick Wilson (Insidious, The Conjuring). Wilson plays Ross, a man already trapped in the grass. He manages to portray a character that is far more sinister than anything we have seen from him before. Additional strong performances come from Avery Whitted (The Vanishing of Sidney Hall) and Will Buie Jr. (Bunk’d).

Most of the horror and suspense in the film rests entirely on the setting. Many horror films take place in fields of corn, but the field of grass that goes far above your head in this film is far more menacing. The grass doesn’t grow in a uniform way like corn does, which makes it much easier to get lost in the endless green. The grass is also very tightly packed, making it difficult to know where you are or if there is anything lurking just beyond those blades. It’s quite effective and beautiful. The filmmakers include gorgeous aerial shots of the grass that truly make the field appear as if it goes on forever. At the center of the field lies something large and ominous that lends to the mythos created throughout the film. It is a simple setting that has a striking look. The only other visual aspects are a few practical effects. These are also well done. They come in the form of minor wounds, a few corpses, and some very intriguing masks worn by beings in the grass.

In the Tall Grass is a twisting, cyclical journey of mysticism and madness from the minds of Stephen King and Joe Hill. Natali does a superb job of bringing the story to life. The resulting film is mysterious, thrilling, and gives the viewer something unique. The filmmakers were smart in making much of the mechanics behind the field of grass a mystery, yet there is one aspect of the climax that needs a bit of explanation. As is, it comes across as simply being in the film for shock value. While this plot stands apart from similar films, it may fall to the wayside with the many successful time-loop films that have been released in the past few years. Luckily the film has strong performances and an eerie setting to really build the suspense. This is a Netflix original film fans of Stephen King, Joe Hill, horror, and time-loop films will definitely want to see.

OVERALL RATING: 7.5/10

 

 

Creepshow: Season 1 Episode 1

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In 1982, the iconic horror anthology, Creepshow, was released. The anthology was written by Stephen King and directed by George A. Romero, who are both horror icons. The film spawned a sequel in 1987. Now, Creepshow is back in an exciting new way.

The horror streaming service, Shudder, is bringing back everyone’s favorite creep with his chest of comics and all new stories. Creepshow is getting a new life in the form of a weekly series. Every Thursday night Shudder subscribers can tune in to watch the latest episode live and the episode will also become available ondemand. Each episode will tell two different stories and each week fans will get to see work from some of their favorite actors, writers, and directors while also being introduced to some exciting new talent. The lovely folks over at Shudder were kind enough to give me an early look at the first episode. In this episode viewers will see two thrilling tales, “Gray Matter” and “The House of the Head.”

“Gray Matter,” based on a short story by legendary author Stephen King and adapted for the screen by Byron Willinger (The Commuter) and Philip de Blasi (The Commuter), starts off the episode with a bang. Directed by Greg Nicotero (The Walking Dead), the segment tells the tale of a father and son. After losing his wife, the father turns to alcohol to ease his pain with horrifying consequences. The story takes place on one dark and stormy night as most of the town has either left to avoid the storm or boarded everything up. This generates a claustrophobic feeling of being trapped as things gradually go from bad to worse.

This short was a great way to kick off the first episode. It is a frightening story that all culminates in fantastic practical effects that you have to see to believe. “Gray Matter” also includes a couple of fan favorite horror actors including Adrienne Barbeau (The Fog, Escape From New York) and Tobin Bell (Saw, Belzebuth). This segment also stars relative newcomer, Christopher Nathan (Barely Lethal, The Spectacular Now) as Timmy. Nathan delivers a compelling performance as he struggles between doing the right thing and his love for his father.

The second segment, “The House of the Head,” takes creepy dolls to a whole new level. This story follows young Evie as she plays with her doll family in their beautiful dollhouse. When a mysterious toy head appears in the house the lives of the doll family are threatened. “The House of the Head” is written by Josh Malerman, who also wrote the Bird Box novel, and directed by John Harrison (Tales From the Darkside: The Movie, Book of Blood).

This story is particularly frightening. The viewer sees the lives of the dolls through the eyes of young Evie. This is a highly effective storytelling tool because there is really no major action, we don’t ever even see the dolls move. It is Evie’s love of her dolls and childish point of view that allows the sense of danger to the dolls to come through the screen. Evie is played by the very talented Cailey Flemming (The Walking Dead, Peppermint). Flemming really makes the plot work. If it wasn’t for her love of the dolls and her ability to treat them as if they were real people, then the viewer wouldn’t care about the dolls and feel the peril they are in.

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Shudder and the entire team behind the new Creepshow series got the show off to a strong start with “Grey Matter” and “The House of the Head.” Both stories boast strong performances, beloved horror actors, favorite horror writers and directors, stunning practical effects, and chilling tales that are sure to give you goose bumps. Even more appealing is how both segments do what I always want to see from short films: they tell a complete story, but leave enough mystery to make you want more. It makes me excited to see what the future episodes will hold. I also love that Shudder is only releasing one episode a week, allowing for the collective live viewing experience that has been lost with many streaming services. With the success of the weekly episodes of The Last Drive-In with Joe Bob Briggs, I can only imagine how many Shudder subscribers will watch live and tweet along with the show.

The first episode of Creepshow will air on Thursday, September 26th at 9pm EST/6pm PST. If you aren’t a Shudder subscriber yet, be sure to sign up so you can be part of this fantastic weekly horror event.

3 From Hell

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The Devil’s Rejects survived the shootout with Ruggsville police. After being found guilty of heinous crimes, the Firefly family has been locked away in prison awaiting death row. When Otis Firefly is able to make a bloody escape, he comes up with a plan to free Baby. Then it’s time for this deranged family to wreak havoc on all those who cross their path.

Ever since the film was first announced, fans have been chomping at the bit to see 3 From Hell. Written and directed by Rob Zombie (House of 1000 Corpses, The Devil’s Rejects), this is the third film chronicling the murderous adventures of the Firefly clan. The film begins by giving a brief update of the family surviving the shootout from the end of the previous film and a bit about the trial that took place after. From there, we see Otis, Baby, and Captain Spaulding nearly 10 years later as they await their death sentence. Eventually the family is able to escape, with the help of a new face. We see as these psychopaths balance trying to stay hidden from the law while still following their murderous nature. The film is as violent as one would expect from a Zombie film, while also incorporating dangerously dark humor fans will love.

The Devil’s Rejects is a much loved film, and it has one of my favorite film endings of all time. With the way that film ended, there was no real need for a sequel. Audiences watched as their favorite murderers went down in a blaze of gunfire, being shot so many times they should have died. When 3 From Hell was announced I wrote an article for The Coda Films discussing different ways the family could be brought back for a third film (you can read that article here). Unfortunately, Zombie went with what I believe is the laziest option by having them simply survive. I do appreciate that there is a joke made about it in the beginning of the film, but there was a missed opportunity to either bring back the Doctor Satan character from House of 1000 Corpses or even connect this film to The Lords of Salem and have the witches bring the family back. That being said, Zombie clearly wanted the second and third films in this trilogy to be more firmly rooted in reality than the first film, which could explain this storytelling choice.

While it’s not a necessary sequel, 3 From Hell still manages to come very close to the magic of its predecessor. Fans get to see more of their favorite psychopaths, Otis and Baby Firefly, while also getting to meet another member of the family. Zombie is eerily successful at writing despicable characters who do horrific things, yet there is something about them that makes you root for them. There are also some very compelling moments of humanity mixed in with all the chaos, especially between Baby and a new character named Sebastian. I believe what holds the film back a bit from reaching the same level as The Devil’s Rejects, aside from the way the family survived, is the lack of a truly formidable opponent. In the previous film the Firefly clan was up against Sheriff Wydell, who was just as sinister and deadly as the Fireflys themselves. In this film there are a few different opponents, but none of them have quite the same presence as Wydell. Without that opposing force, the Fireflys not only don’t have an worthy adversary to go up against, but it also doesn’t give the audience as much of a reason to sympathize with them.

Between the familiar and new characters, the entire cast is pure magic. The highlight is definitely Sheri Moon Zombie (The Lord of Salem, The Devil’s Reject) as Baby Firefly. Fans are familiar with Baby’s playfully homicidal antics. This time around, years in solitary confinement have turned that playfulness into insanity. Moon Zombie gives a stunning portrayal of the character in those moments of insanity, but she also brings a deeper emotional level to Baby, especially during her interactions with Sebastian. Bill Moseley (House of 1000 Corpses, The Devil’s Rejects) also returns as the most brutal of the family, Otis Firefly. Moseley brings much of the same ferociousness to the character of Otis in this film, but the years in prison have changed Otis as well. It may not be as obvious as with Baby, but he has become a bit more cautious as he tries to keep himself and his family out of police hands. A new member of the Firefly clan is Richard Brake (31, Doom) as Winslow Foxworth Coltrane, half-brother to Baby and Otis. This is the first time we have met Winslow, but he clearly has the same extracurricular interests as the rest of the family. Brake’s chemistry with both Moon Zombie and Moseley is a delight to watch, and watching him on screen feels like he’s been part of this franchise from the beginning. Other fantastic performances come from Dee Wallace (The Howling, The Lords of Salem) as Greta the prison guard, Pancho Moler (Candy Corn, 31) as Sebastian, and Jeff Daniel Phillips (The Lords of Salem, 31) as warden Virgil Dallas Harper.

As with every Zombie film, 3 From Hell is both stunning to look at and has great music. The sets, cars, wardrobe, and filming style all transport the viewer back to the films of the 70’s and 80’s. Zombie has always had a great eye for creating that vintage aesthetic, and this film is no different. He also curates an amazing soundtrack of rock classics combined with the gorgeous film score by Zeuss, who also did the score for 31. 3 From Hell also incorporates very realistic practical effects for the various wounds the Firefly family inflicts on their victims, as well as ones inflicted upon them.

3 From Hell is an unnecessary, yet delightful third film in the saga of the savage Firefly clan. The film has it’s flaws, mostly in the way the family is brought back for this film and the lack of a worthy adversary for them to fight against. That being said, Zombie comes so dangerously close to catching the same magic of The Devil’s Rejects that most of his fans will likely be delighted with this film. It has great visuals, fantastic acting, and it’s a bloody good time. Much like every film Zombie has ever made, 3 From Hell is sure to polarize audiences. One thing is for sure, I had a smile on my face during this film from start to finish.

OVERALL RATING: 7/10