Deadly Indie Entertainment presents … Scream Machine … the new horror anthology from Writer/Producer/Director … Walter Ruether III … aka your eerie host … Scarlet Fry
Just when you thought it was safe to relax and let out your breath, the evil genius of Scarlet Fry (Walter Ruether III) makes itself known once more in the shape of Scream Machine’s five bloody twisted tales: “Sledgehammer,” “Cannibal Pen Pals,” “April Fool’s Party,” “Septic Shock,” and “Deadly Indie Drive-In.” Each one featuring the three M’s of horror: madness, murder, and mayhem; guaranteed to make you faint, puke, and quite possibly soil your pants!
Scream Machine’s host segments, which introduce Scarlet Fry as Dr. Fry, take place after the Ebola plague wipes out Earth’s entire population. The two exceptions being Dr. Fry and his new assistant Dr. Graves, Dr. “Head”ley Graves (Paul C. Hemmes). Known for bringing to life such cult classics as: Horrorama, Death By VHS, Nightmare Alley, and Junk Food Horror Fest; Writer/Producer/Director Walter Ruether III teams up with filmmaker Paul C. Hemmes to make his latest and quite possibly greatest horror anthology to date. Featuring the acting talents of Lloyd Kaufman (The Toxic Avenger), Sandra E. Williams (Ted 2), and David C. Hayes (A Man Called Nereus).
PLEASE NOTE: Filmmakers are not responsible for spontaneous heart attack or combustion from fright!
The Horror Movies Blog Review
We love horror anthologies and Scream Machine is one of them. Scream Machine would have had better quality if it had a better budget, but if you love low budget horror movies then you must watch the Scream Machine anthology. You can really tell that this horror anthology was made by a big fan of horror movies; Walter Ruether wrote, directed, produced and even starred in Scream Machine! Highly recommended!
Virgil Films & Entertainment announces the DVD, VOD, and Digital HD release of the controversial film “Infliction” available now in the U.S. and Canada. Produced and directed by award-winning filmmaker Jack Thomas Smith, whose last feature film “Disorder” was released by Universal/Vivendi and Warner Brothers, “Infliction” is a dark and disturbing assembled footage film that documents two brothers’ 2011 murder spree in NC and the horrific truth behind their actions.
“Working on ‘Infliction’ left me troubled and haunted,” says Jack Thomas Smith. “It left me thinking about people’s actions or lack thereof and the inevitable domino effect. We all walk our own path in life, which shapes and defines us. What happens to us today, good or bad, will affect generations to come.”
In 2014, “Infliction” opened in select theaters across the country. Additional screenings have been scheduled this spring due to demand at the CK Expo in Chatham, Ontario, Canada and the Wizard World Comic Con in Philadelphia, PA.
“Infliction” is now being represented for international distribution by the foreign sales agency Cardinal XD and will be available at all of the major film markets around the world, including the Toronto Film Festival; the American Film Market in Santa Monica, CA; Sundance; the Berlin Film Festival; and Cannes.
Horror feature film “Infliction” is now available in the U.S. and Canada on DVD, VOD, and Digital HD by Virgil Films & Entertainment, which is the company that distributed “Supersize Me.”
“Infliction” is available on Walmart.com, iTunes, Amazon, Columbia House, Best Buy, Barnes & Noble, CD Universe, FYE stores, Google Play, Vudu, Cinema Now, Vimeo OnDemand, Netflix queue, and other online retailers.
Awaken the Devil – Some say evil is skin deep, yet the forbidden ancient texts say that true evil is embedded into the soul of the world itself…
Some say evil is skin deep, yet the forbidden ancient texts say that true evil is embedded into the soul of the world itself. Two brothers unknowingly play their part in an eons old cycle of death and rebirth when homeless brothers Tom and Vernon stumble into an abandoned building for shelter, entering a hellish world of shadows and nightmares that would change their lives forever. Trapped and psychologically tortured by an unseen forces, the brothers descend into a vortex of madness dominated and controlled by demon succubi and paranormal entities for one sole purpose…to re-awaken the Anti Christ.
The Horror Movies Blog Review:
Awaken The Devil is an 85 minute horror/paranormal/suspense/drama movie. Its special effects and graphics are very good. This horror movie is creative and superb and its acting is decent. This horror movie could have been made shorter and give out a greater impact because this full length movie causes the story effectiveness to weaken a bit…..But overall Awaken The Devil is worth watching.
The Basement is a supernatural thriller feature film about two brothers who must come together after several years apart, in order to solve a mystery going on inside their childhood home.
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After he wakes from a night of using, Doyle is greeted by Alexander, a spiritual being who gives Doyle the choice to turn the tide of an ancient war. Now Doyle must steal an ancient artifact that will tip the scales of good versus evil or walk with Alexander into the afterlife.
The Horror Movies Blog Review:
Junkie Heaven is an 18 minute horror short that incorporates many types of genres including paranormal, thriller, drama, action. Junkie Heaven manages to engage the viewer with various surprising twists. This short does a good job. Check it out because you will not be disappointed.
Sofia is a beautiful twenty-year-old living a dreary existence in a small city in Romania, wearing herself out in a factory and dreaming of a different fate in front of the box watching Italian television dramas. It is on a night like any other in a disco that Sofia meets Gabriel, an Eastern European producer who has been living in Rome for years and knows all sorts of important people.
Sofia is spellbound by what he has to tell her and when he asks her to follow him that very same night, she is feels torn: he is about to film a new reality show and he thinks there might be a part for her in it. When she gathers her thoughts, Sofia reaches the conclusion that she cannot lose the opportunity of a lifetime and she gets into Gabriel’s car.
Together they approach the outskirts of Rome at night and make a stopover at a farmstead. Gabriel tells her they will be resting there overnight and in the morning they will go straight to the audition. That night Sofia dreams are crowded with pictures of the future, a bright new world full of achievements and aclaim and all else that television can lead to. But what is really waiting for her is a slippery slope to sheer hell.
As the dawn light filters through the sky, Gabriel has gone. Manòl, a dangerous and impotent Slav, has taken his place; he has a hard nose for business and he organises a bevy of extremely young girls from Eastern Europe. Manòl orders Sofia to get dressed quickly; he has left her some provocative clothes, the sort that prostitutes wear. And while his henchman Fabian, an individual with mad eyes, rips her clothes off, Manòl tells Sofia that now she works for him. “Gabriel owed me one and now you have to pay it off.” is the only explanation she gets.
Mors Tua, Vita mea: this is Manòl’s supreme law. Anyone who dares to disobey is meted out ruthless punishment and Sofia soon learns this to her own expense.
Sofia’s life spirals out of control. She is forced to work as a prostitute and she experiences violence, coercion and the steamy squalor of the punters’ cars.
There is no way out: when they are in the hideout the girls are watched by Fabian and when they are working in the streets someone even more dangerous keeps an eye on them: his name is Marius and he is an unscrupulous and brooding giant who flares up into sheer violence at the drop of a hat. Marius beats four punters bloody in front of Sofia after they, up to their eyeballs in cocaine, overstep the mark with some of the girls. He almost kills one by pushing his head repetitively in the car trunk then he goes back to picking at a sandwich as if nothing had happened.
In this daily nightmare, the only moments of complicity and affection that Sofia has are those moments shared with Alina, another girl who is accompanies her on the street and in her sleeping quarters. She catches glimpses of a fragments of lost humanity and light whilst all around her the situation is worsening and each time she rebels against her destiny the price to pay is higher and higher. It is impossible to escape. Manòl threatens to kill Sofia’s little brother. The only way out is to pay off the debt. But as Alina explains to her, the debt increases exponentially with steep interest rates. The debt is never going to be settled.
In the immense darkness, a ray of hope seems to materialise in the shape of a regular punter: Eva is a tiny, androgynous woman with a shaved head. She is an ex-soldier from a special unit and after which she has worked as a contractor with a dark and painful past. Although she has a bossy and blunt manner, Eva seems to genuinely care for Sofia and she always asks for a “strange service”: she wants to be cuddled and hugged. It would appear that she can finally find refuge from her fears and sense of foreboding for this short space of time. Sofia falls into the delusion that Eva can help her and make her free. But in the meantime, the situation gets worse when one of Manòl’s jail mates arrives on the scene.
Ettore is a ruthless, hard and unscrupulous criminal who milks all situations for the greatest possible advantage to himself. He pretends to be a priest and gets Sofia to get into his car. He tells her that he only wants to help her and says that he works for an association that fights against the prostitution racket. He promises to protect her if she tells him who her pimps are. Although she is initially suspicious, Sofia falls for the trick in the end and confides in Ettore, telling him that Alina is pregnant and needs help before Manòl finds out. Ettore reveals his true identity later in the evening when all the girls are shut up in the farmstead. The punishment awaiting the two girls is a terrible one: It doesn’t take much for Ettore to convince Manòl to sell them to shoot a snuff move with the help of the “Professor”, a well-educated and calm and collected criminal who is highly familiar with this type of market need.
Made victims of the two criminal bands, Sofia and Alina are shut up in an isolated basement far from anywhere and forced to “play” all night until the morning light comes. The Professor’s rules are quite straightforward: either undergo terrible torture or ask their jailers to torture their friend instead. Mors tua, vit mea
When the horror starts, Eva is torturing someone else: her victim is Marius who has been left behind to guard the other prostitutes. To save Sofia, Eva will have to bring to the fore the darkest part of her black soul and become once more the woman she had so desperately tried to forget…
Following our last blog about Fish Eye Horror Movie, below is a new scene that takes place in Peter Poissons, AKA “Fish Eyes” past where he is held captive against his will.
Think these Canadian filmmakers deserve Scented Vision Productions $1 million in production financing and a release in Cineplex theatres? Watch and share this awesome video, then sign up and support this team by rating and commenting! click here to vote!
Presenting a blend of fact and conspiracy counting down the 5 deadliest cults including the Branch Davidians and the final Waco Siege, Heaven’s Gate, Japan’s Aum Shinrikyo and its deadly sarin gas attack, the People’s Temple and Jonestown Massacre and The Order of the Solar Temple.
“Scared of Crows” short film is currently in production and stars Joe Mullins (Pilgrim Hill, Glassland)!
A middle-aged farmer, (Joe Mullins, Pilgrim Hill), awakes in his dark scrapyard-like bedroom to another day he would rather not face. He has a face given to him from a diet of alcohol and fried food. As he coughs up the fluid gathered in his lungs during the night, he seems to be a man teetering on the edge of a coffin.
Joe’s son, Peter, is a young man with a sickly frame and big child-like eyes. There is something off about him, something you can’t place. The baggy blackness droops from his eyes and his slumped shoulders sink into the table under the weight of the insomnia slowly crushing him.
There is very little love between the two, only resentment and anger. Their only common love was their wife/mother Mary who was lost to sadness one year ago. Every day is the same: work the failing farm, feed what’s left of the animals, cut some wood, try to fix the crumbling walls.
But today is different: something will happen that has not happened since Peter was a small child, something that tore his young mind to pieces. Tonight he will endure it once more. Joe has his duty and will not be deterred by the terrified pleas of his son.
DIRECTOR/WRITER - Enda O’Connor – Enda is an extremely talented director and vfx specialist. He’s worked on critically acclaimed drama Amber, horror film From The Dark, and award winning documentaries such as Natan and Very Extremely Dangerous.
PRODUCER - Janette Lynch – Janette is currently working on her first major feature film for Screenworks Production Company. This is her second time producing a short film for Enda.
DIRECTOR OF PHOTOGRAPHY – Miguel Angel Vinas – Miguel is a very exciting up and coming DoP. He’s worked his way up from a camera intern for noted cinematographer Rodrigo Prieto on the films Broken Embraces and Biutiful which were directed by the internationally lauded filmmakers Pedro Almodovar and Alejandro González Iñárritu. He has also worked on Secret Scripture, Penny Dreadful and the Vikings and has been 2nd AC on commercials for Adidas, BMW and Nike, to name a few.
LEAD ACTOR – Joe Mullins – Joe is best-known for his performance as Jimmy Walsh in Gerard Barrett’s acclaimed PILGRIM HILL which was selected for the Telluride Film Festival 2012, the BFI London Film Festival 2012, and also won the Bingham Ray New Talent Award at the Galway Film Festival 2012. He has also starred in Barrett’s follow up, Glassland with Jack Reynor.
Horror is an intensely subjective genre and one difficult to define; it isn’t easy to pinpoint what constitutes something being scary. Does fear come from a sense of brooding dread and atmosphere? Is it the unknown, the barely seen on screen, or the graphic and unpleasant, body-focused horror of physical repulsion? Is it a sense of the uncanny and the mundane slightly askew or all out screaming, fleeing terror? A recent conversation with a friend got me thinking about horror and the scariest scenes in cinema – hence this top ten, in which I’ll look at what personally, I deem to be the scariest cinematic moments with a brief discussion about what makes them work, coupled with videos if Youtube favours me with clips.
Looking at similar lists online, I was struck by how non-frightening they were – the problem with most horror movies, as much as I love them, is that they’re not scary. They may be very well made films, with great pacing, creative ideas and unpleasant imagery, but there’s nothing in them to keep you up at night. Case in point, the shower scene in Psycho tends to top these lists, and whilst I agree its a remarkable feat of imagination and editing, brilliantly directed and utterly iconic, it’s really not scary. It’s an amazing scene and probably upsetting at the time, but nowadays it wouldn’t really shake audiences on a deeper, more unsettling level, the way true horror should. The Exorcist shares this kind of fault – it’s a great movie and fun to watch, but far too over-the-top to be scary, and somewhat a victim of its own success – the possession genre completely saturated to modern audiences. The film is scary, but only in it’s more restrained moments – the eerie statue at the start, Ellen Burstyn’s venture into the attic, the flash-up face and Regan’s tortures in the hospital. These quieter moments contain a greater sense of dread than the standard head-spinning scenes. And so The Exorcist will not feature on this list. Similar movies which tend to top these lists won’t appear either – Jaws is more a measure in suspense than fear, so the opening swim won’t be appearing. The opening to Scream, whilst a brilliant scene, is more intense than it is scary, though it did come close to making the list. There’s also actually 11 entries here; I cheated.
11. Pan’s Labyrinth – The Pale-Man
Pan’s Labyrinth is a good movie without being a great one – the fantasy elements are far stronger than the war side of things and unfortunately, the war is where we spend most of our time. I was hoping for something more like a live-action Spirited Away. The highlight of the whole movie, however, is the infamous Pale-Man scene, one of the most surreal and unsettling cinematic scenes of the last decade. The horror here works on a few levels – Pan pre-warns Ophelia about eating the food and so the audience is already aware of the threat; there are horrific images of the Pale-Man eating babies on the walls and the soundtrack is eerie throughout the scene. The Pale-Man himself is a great movie monster, wonderfully designed by Del Toro, with creepy jerky movements and moaning sounds; unnatural movement and sound being key to horror success – things have to move and act in non-human ways, despite having human elements to them. As Ophelia races to escape (via a rapidly closing exist) the scene reaches its feverish peak, and it’s very intense. There’s an element of the nightmare to this scene, something which will come up repeatedly on this list, and a touch of childhood fairytale dread which really sells the moment. It’s the best scene of the movie and easily the scariest.
10. Ringu – The Ending
The horror movie ending fake-out is a tired technique; threat is defeated, happiness ensues, and then oh wait, the threat returns for one final scare/kill. Some movies – such as Alien – manage to do this fantastically, as does Japan’s infamous video-tape horror flick Ringu. The entire film is fairly unsettling – lo-key throughout with a sense of simmering dread and tension, but it’s the ending where the horror truly strikes. The strength here comes, like the Pale-Man, from music, design and movement – the soundtrack is brilliant, screeching and metallic and harsh on the ears, it sounds wrong from the start, and it’s added to visually by Sadako’s hideous, twitching movement – the effect created ingeniously by filming the actress walking backward and then playing the tape in reverse. It’s an eerie and unpleasant scene with the great surprise moment of Sadako coming through the screen – audiences didn’t expect that; the screen was supposed to be their safety net, and of course, the final shot with the eye is pretty horrific. Whilst I do enjoy Gore Verbinski’s American remake – some elements of it are actually stronger than its Japanese counter-part – its final scene is awful compared to this, far too stylised with mood-killing teleportation, lack of scary soundtrack and a sillier version of the eye.
9. The Texas Chain Saw Massacre (1974) – The Meat Hook Scene
There had to be one slasher movie on the list and Texas stands out as the most brutal, with the brilliant meat hook murder making the cut. Halloween, for all its genre defining brilliance is again, one of those horror movies which I absolutely love, but which I don’t find scary on any level – with the possible exception of Michael Myers standing by the hedge, which is a pretty eerie shot:
The Texas scene works because of how random and insane it is – to this point, the film has been undercut with a sense of dread, and we know something bad is going to happen. Then suddenly, Kirk gets hammered and the tone drops completely – left alone, Pam creeps into the mysterious house and stumbles into a room of bones; terrified, she tries to escape, only to be caught by Leatherface and slapped on a meat hook. Again, what makes this scene work so well is the pre-provided tension – the audience has seen Leatherface kill Kirk and knows he’s in the house, and this, coupled with a brilliant sense of escalating horror, first bodily and built on repulsion (complete with vomit) which then spins into pure and utter terror as Leatherface chases Pam. The contrast of Pam’s slender frame with Leatherface’s beast body and skin-mask is startling, the horror here working on the mundane suddenly confronted with something inhuman and wrong. The metallic, clanging soundtrack works wonders too and Leatherface’s lumbering movement sells the terror; he’s like a nightmare figure, slow and stupid but you know he’ll catch you. Watch it:
8. The Shining – The Twins
The Shining is one of my favourite movies but I wasn’t initially going to feature anything from it on this list. Generally, as much as I love the film, I see it more as an exercise in atmosphere, building dread, and tension. It doesn’t outright scare me, though it’s very intense, but as I thought about it, it seemed shameful not to include it, and building dread and atmosphere are key components to horror. This scene is fairly infamous and probably the scariest in the movie – though not as intense as the bathroom climax, it’s the first ‘big’ scare we’re given, and comes out of nowhere too. Kubrick was a genius of sound and composition and both are used excellently here – the rolling churn of Danny’s tricycle and building screeching soundtrack – Penderecki’s terryfing ‘De Natura Sonoris’ – combined with the harsh right-angles of the Overlook, sudden shock of the twins and added horror of their subliminally flashing, brutally murdered bodies. It’s a great scene from one of cinema’s greatest directors, and another indication of how vital sound is when it comes to scares:
7. Inland Empire – Susan Running
David Lynch is going to crop up on this list a few times. His films tend to contain deeply unsettling elements; he’s the world’s greatest director when it comes to dream atmosphere and falls into nightmare mode so easily, with this scene from Inland Empire standing as one of his most unsettling moments. Inland Empire is essentially, like being trapped in someone else’s nightmare and whilst it’s far from my favourite of Lynch (its way too long, unfocused and a poorer version of Mulholland Drive – though many would call it an underrated masterpiece, it’s a very dividing movie) it does contain some excellent scares, such as this bizarre scene, in which Laura Dern’s Susan creeps towards the camera, breaks into a strange run, at which point we notice her eerie wide smile and then bang, the camera throws her forward.
This works purely on its surreality and nightmare elements – everyone’s probably had an unsettling nightmare like this, where the horror is slightly difficult to describe. Is it the lack of sound? The weird run and grin? Or the sudden smash zoom? Lynch certainly knows how to make unsettling, creepy horror, with this scene making it just ahead of another weird Inland Empire moment, again involving Laura Dern’s face:
That flashes up suddenly towards the end of the film. It’s horrific.
6. Jacob’s Ladder – The Car
Jacob’s Ladder is an underrated movie, not strictly a horror film despite containing some of the creepiest scenes ever put on film. It’s a very unsettling, uncanny movie, playing on what’s unseen, and what’s slightly off-centre – humans with tails, briefly glimpsed, nurses with strange teeth in their heads, subway trains filled with motionless, unmoving faceless men. All of these scenes have a nightmarish quality but it’s the car chase which stands out.
This isn’t the first scare in the movie but it’s the most intense up until this point. It works by taking something human – a face – and perverting it in a unnatural way, making it deformed and monstrous but glimpsed so briefly that the audience barely have a chance to register it. Jacob’s Ladder works on glimpses and this is the first of such scenes to really make audiences sit up and go, ‘what did I just see?’ The infamous hospital/hell scene later on tends to get credit as the scariest (and indeed, is the cover photo to this post) and very nearly made the cut, as did the sudden jump cut later of the shakey-head man when Jacob is sat on his bed. The film also inspired the look and atmosphere of the Silent Hill games, which are fairly terrifying themselves.
5. [Rec] – The Attic
It’s an intensely brilliant horror movie and the finest of recent cinema, as well as a masterpiece of pacing. The scares become increasingly scarier as the stakes are raised and the situation becomes more hopeless – the final half hour is horror gold, and the last ten minutes or so are extremely frightening, with Ángela Vidal locked in the attic with her cameraman. Things get worse when the lights go out, leading to a brilliant Silence of the Lambs-throwback using nightvision lenses – here however, the horror is a hideously deformed zombie monster lurking in the dark with a hammer. This a fantastically directed scene which works by using the handheld camera and nightvision to limit both the character’s and the audience’s vision – we can’t quite see what’s happening – and of course the brilliant monster design works wonders too. This final fright is one of the creepiest cinema nasties in recent memory, and makes some horrific noises which really unsettle. It’s the perfect, horrific end to a very claustrophobic and terrifying movie:
4. Twin Peaks: Fire Walk With Me – Bob in the Bedroom
This is another terryfing moment from David Lynch, from his prequel movie Twin Peaks: Fire Walk With Me. I stand by Fire Walk With Me as one of the greatest horror movies ever made – it’s an intensely disturbing, upsetting look at abuse and molestation and very unpleasant to watch. The scene where Laura Palmer (Sheryl Lee) returns home to find Bob in her bedroom is hugely upsetting; Lynch builds tension by having another character tell Laura about Bob’s presence in the room, and then slowly allows her to creep up the stairs. We know Bob will be there and so does Laura, but neither audience or character want him to be, and the Lynchian music which builds throughout the scene is very creepy. Worse still, the unusual way Bob is stood in the room, his scream, and the horrific realisation on Laura’s part that this monster is actually her father. This is the moment when the film really takes a darker turn and its one of the finest horror scenes in movie history:
3. Insidious – The Visitor
Insidious received a fair amount of negative criticism on its release but I stand by it as one of the greatest horror movies of recent memory. It has flaws yes, such as heavy exposition, and falls apart towards the end by turning into an entirely different kind of movie, something more in line with the silly Poltergeist franchise. But the first half in particular is hugely unsettling, laced with a frightening old fashioned score and some amazing jump scares. The film is clever and plays on audience expectations – for example, in one scene, Rose Byrne walks into her baby’s room – the baby starts crying, there’s a dramatic music sting, but the camera doesn’t move, the audience don’t jump but know something is wrong, and it takes an added second to notice the man stood behind the crib. That’s when the jump comes. That’s a fantastic scare set up, and the film has a few similar scenes. The best of the entire movie is Barbara Hershey explaining her dream. This works on a few levels – the eerie, dreamlike quality to the scene, and the frankly horrific image of the demon stood in the corner of the bedroom. We can only see its silhouette, but it’s clearly tall, clawed, and inhuman, and the sounds of the scene, the echo of the clock, the icy creaking of the monster, really help. The scene works on what’s unseen – Hershey describing it as a visitor, telling us how horrid its voice was and letting our imagination’s fill in the rest. And then, in what is already a hugely frightening tense scene, we’re given a fantastic and terrifying jump scare to end on. I find this scene fairly difficult to watch. It’s brilliant:
2. Mulholland Drive – The Man Behind the Diner
The third and final Lynch scare on the list, and easily the best. Mulholland Drive is an amazing movie with some truly strange imagery, but this scene stands out as the scariest moment of the film, narrowly beating out the demonic elderly couple near the end. It’s essentially a recreation of the Bob seen mentioned above – we’re told about the monster waiting, and then sent to see it, knowing and not knowing it’ll be there. As Patrick Fischler describes his dream, it becomes clear he’s on some level, actually within it, and the scene takes on a horrendously creepy tone as the two men leave the diner. Music is vital here and gives the scene a very creepy, very tense edge – it is literally like watching someone else’s nightmare, leading to a brilliant jump scare, which almost comes as a relief for cutting the unbearable tension. The full scene wasn’t available on Youtube and you really need to watch it all to get the full impact, but here’s the tail end:
1. The Blair Witch Project – The Ending
I would say easily, this is the scariest cinematic scene I’ve ever seen. The Blair Witch Project is a remarkable horror movie and one I’ve discussed in detail before. It’s a very unnerving, frightening film throughout, relying on the audience’s imagination, but it’s the final desperate few minutes which really make an impact. When Heather and Mike reach the house the movie takes on an even scarier tone and this is difficult to watch; extremely tense, the audience scan the frame looking for anything, and of course, it all kicks up as Mike gets grabbed by something off screen and Heather is left alone screaming. The final grainy image, coupled with Heather’s screams and the abrupt end, leave the audience feeling shaken as the credits roll. This is horror at its absolute finest, relying on subtly but building an impeccable sense of terror. I’ve never had a horror scene shake me like this one:
And that’s my list. Feel free to comment on whatever you agree or disagree with. Hope you enjoyed the scares.
Post by Carl Eden