Psycho Killer Card Game – The Expansions

Psycho Killer Card Game – The Expansions

The main game of Psycho Killer and it’s expansions

Several weeks ago, I did a review for a fun card game called “Psycho Killer’ from Escape Tabletop Games. The kind people from VR Distribution in Australia saw this review and kindly offered me a copy of each of the expansions to review.

If you wish to read that review, you can find it here: Psycho Killer Card Game – go back and read that first before embarking in this review.

The three expansions

In that original review, I do criticise the game for being packed in a far-too-big box for how small the game is, and when I saw how small these expansions are I assumed they would fit in the box with the original cards, which they do, but only if you remove the inserts that hold the original cards in place, or you can take these cards out and throw them in the box which would be a shame, because the audio cassette/ Walkman boxes are pretty cool.

Just on that: the boxes for these expansions ARE cool, but make no sense thematically. The original game, set around slasher films of the 80s come in a video tape, which is bang on for theme, but these seem to be more about the box art theme of the original rather than the game theme. Sure they all look cool together, but I just don’t get it.

The three expansions are called Gratuitous Violence, Z and Bloody Mary.

Psycho Killer: Gratuitous Violence

Gratuitous Violence is our first expansion, and it adds a much more combative experience. There are 15 cards in this little tiny box, all marked with a ‘V’ so if you want to play the game WITHOUT these cards, they are easily removed.

First, it adds a Psycho Creature to the pile, if you draw this guy, you don’t just drop all your weapons, you also take one from each other player… yikes! Save Yourself allows you to force another player to draw your last card instead of you. Creepy Local let’s you try to steal a particular card from another players hand. I Know What You’ll Do Next Summer let’s you look at rearrange the top three cards so you can pick who gets what for the next three hands, and finally, three ranged weapons (Flame Thrower, Crossbow and Hunting Rifle (not pictured)) which have the unique ability of the player holding them being able to put them on another players weapon pile to increase THEIR score.

An example of the cards from Gratuitous Violence

As you can see, these cards add a really nasty, attack-other-players element to the game, and the word “BAST-AAAAAAAAARD” will be exclaimed often. Also, the addition of the extra cards means that the player count can be increased to 7, so you can make even more people angry!

Score: ****

Psycho Killer: Z

Z is the next expansion, and adds a zombie apocalypse to the threat of a Psycho Killer. Again, this card adds enough cards to the deck so you can increase the player count to 7, but whereas Gratuitous Violence was all about attaching other players, this is all about you as an individual.

This expansion is all about getting infected by a zombie virus, and then trying to get rid of it to another player. The weapon cards in this expansion are all zombie attacks (Bite, Scratch and Swarm) but they don’t get played when a Psycho Killer attacks, but instead they get played when you draw an Infected card, and you will keep playing those cards as long as you are infected.

Some of the cards from Z

You can get rid of the card though, with either a The Cure card, in which you shuffle it back into the deck (keeping your wounds), a Supply Run card, were the player takes one card from every players hand (maybe they’ll take that infected card) and the Patient Zero Psycho Killer card, where you distribute your cards to the other players. There is also a Shallow Grave card, which can be swapped with the top card on the discard pile; got an Infected card? Swap it with a played The Cure, if you are lucky!

This expansion is hilariously self-destructive, but the zombie injury cards are affected by the Band Aids and Stitches cards from the main game, also cards like Let’s Split, Drop Your Keys and Disarm can also be a way to rid yourself of the Infected card.

Score: ****

The box for Psycho Killer: Bloody Mary

Bloody Mary is the final expansion, and it turns Psycho Killer into a drinking game! The first thing one must do to play this game as a drinking game, is to remove all the Psycho Killers and Weapons cards from the base game, and replace them with the Bloody Mary cards, and the Drink cards. The scoring is still the same, except when someone gets a Bloody Mary card, everyone has to take as many sips of their drink as the points on the card say. For example, if you got a Bloody Mary (+3 points) and placed a Beer card with it (+1), you would take 4 sips of your drink.

This game also adds ‘Character Cards’ to the mix as well. While you have a character card in your hand, you must take on the persona of that card. For example, if you have The Bartender in your hand, it’s your job to keeps everyone’s drinks filled, The Final Girl stops you from taking a drink, and The Jock allows you to pick a member of your frat, and they have to drink whenever you drink. These character cards make for an interesting experiment in the game, and even cards like Play Dead allows you to keep a character card should the opportunity come up where a character is to be removed, which is whenever a Bloody Mary is played.

A sample of cards from Bloody Mary

There’s also other drink-oriented cards like Pass Out Under the Bed, where instead of drawing a card to end your turn, you take a drink, and Splatter, where everyone must keep drinking their drink until they finish theirs, or you finish yours!

I’d like to point out at this point of the review, that the To Watch Pile encourages everyone to drink responsibly, look out for your buddies and please, don’t drink and drive.

This box also has a bunch of blank cards do you can create your own Psycho Killers: maybe your deck needs a Cropsy (drink a flaming sambuca), or a Madman Mars (you have to spend 5 minutes awkwardly in a spa with another person while terrible music plays), or even a Norman Bates (player wears a wig and impersonates their mother until the next Psycho Killer is drawn).

I have to make the points on this one a bit lower than the others for two reasons. One, the re-jiggery-pokery of the deck on setup is never a fun way to start a game, though the makers of the game have labelled all the cards with a little Bloody Mary so they are easily removed. The other issue is that it narrows the game to drinkers only, so under-18s are immediately left out as are non-drinkers. I think games are better when they appeal to a wider audience, and this narrows it. Don’t get me wrong, the actual mechanics of the drinking in this expansion are fun, but a non-drinker in your board game club isn’t going to get anything out of it. Also, it’s a shame the character cards weren’t in other expansions with non-alcohol related things for them to do, like maybe a ‘Lovers’ card who divide damage equally or something like that.

Score: **

These expansions all have a recommended retail of about $19.95, and I think the Gratuitous Violence and Z boxes are certainly worth it, even though the contents of the box don’t seem to be much. They do add fun extra elements of gameplay with a small amount of components. The Bloody Mary expansion I probably wouldn’t worry too much about, but I do like that you can make your own Psycho Killers! People whose board game nights turn into orgies of liquor might enjoy it.

I’d just like to offer a thank you to the people at VR Distribution for allowing me an opportunity to review their product.

Psycho Killer Card Game

Psycho Killer

The amazing box for Psycho Killer

David Byrne from Talking Heads once said;’ Psycho Killer, qu’est-ce que c’est, fafafafa fafafafafa better, run, run, run, run run away.’ It doesn’t mean anything in regards to this card game review, but he did say it… on SEVERAL occasions!!

There’s nothing I love more than a tidy little card game that is easy to learn, and the teach can be taught in minutes. The reason I like this is that it’s nice for my wife to have a card game or two in her hand bag, and when at the pub, it can be whipped out for a quick few rounds.

Unfortunately Psycho Killer from Escape Tabletop Games doesn’t come in one of those little boxes, but to their credit, they have put the base game into a box that will eventually fit the expansions if you choose to buy them, and I guess if you want to, you can just throw the original deck into a smaller box for travel. Also, and I have to point this out before I go any further, the box is in an awesome replica of a VHS tape, which is very thematic for the game. It just proves that even though I think I’m nostalgia proof, I definitely am not!

(NB: the expansions to date are a zombie expansion, another called Gratuitous Violence and a drinking game addition called ‘Bloody Mary’.)

If one of these comes out of the deck, you’re all in trouble.

The game does fit that previous criteria though, as the short instructions take minutes to read, and the play explanation takes even less, so if you do decide to whip it out and introduce it to people who haven’t played it before, you’ll be up to your guts in no time. This game is a clear example of it not being the size that counts, but what you do with it instead.

In Psycho Killer, you play potential and eventual victims of a slasher who wants you dead. The winner is determined by who has the less injuries at the end of the game, which is determined by when the fifth psycho killer card is drawn from the draw pile.

The regular cards

Play is simple. To set up, take the cards with black backgrounds (these are the psycho killer and bad event cards) out of the deck and deal 7 cards to each player. Shuffle those black cards back into the deck and place that deck as a draw pile in the middle of the table.

Each turn, players play as many cards as they can from their hand, and finish their turn by drawing a card from the top of the deck to replenish their hand. If the card is a psycho killer card, they, and everyone else at the table have to play all their Injury cards, which determines how many points they have, and after the 5th psycho killer is drawn, the person with the lowest amount of injuries, wins!

Simple right? The curliness of the game comes from the fact that the other cards you play can see you moving your injuries to other players, checking the cards in the deck to see if you can avoid them, reversing the state of play and other such devious things that help you avoid injury. There is also a catch up mechanism too: if you have more than 10 injury points during the game, you are ‘left for dead’ and it gives you an advantage of being able to hold some of the black cards (not the psycho killer) in your hand until it’s strategically better for you to play.

I really like the theme of the game, and the fact that the design of it all fits well in with the VHS generation, and there is plenty of horror in-jokes or Easter eggs or whatever they are called these days for the big horror fan, and even the minor one. The good thing is that the theme doesn’t disturb the gameplay so if you aren’t a horror or movie fan, like my wife, it doesn’t get in the way of a fun game. I guess this also means the theme isn’t important, but I admit I did purchase this game because of it.

A game of Psycho Killer in progress

If I am to criticise this game for one thing, it’s the ‘when to play’ code on the cards. Thematically, using the emblems for ‘fast forward’, ‘play’, ‘eject’ etc to describe when each card has to be played is smart, but it’s not immediately accessible, and those casuals who aren’t big movie fans will ask on several occasions what it means, so be prepared for those questions!

All in all, Psycho Killer is a quick fun family game with a very non-family theme. Game length is random as you never know when those psycho killer cards are going to pop up, but the cards make it tactically fun as you cross and double cross your friends and family, allowing them to get more injuries than what you have, aiming towards that lower score at the end.

Score: ****

Scream (2022)

Scream (2022)

The cover to the Australian 4K release.

Film: The older I get… and let me tell you, I’m getting older REAL fast… the more and more sick I am of the word ‘franchise’. When I was younger, it referred to a McDonalds, or a KFC, now it appears that no filmmaker or writer wants to make a movie, they want to make a franchise.

You know, I get it. To create something that has some kind of cool legacy would be amazing. To know that something you created has a future because it has a love that is generationally significant.

In past times you could do it with just a single film, which might indicate the quality of these franchises over single films of the past. Personally I blame my beloved 80s movies, and the post-2000 need for nostalgia driven product over new stuff. I guess I’m part of the problem when you consider that this very website older movies more often than newer ones.

Scream (2020) starts with the assault of Tara Carpenter (Jenna Ortega) in her house by the returning Woodsboro murder icon Ghostface, which causes he estranged sister Samantha (Melissa Barrera) to return home as their mother is missing with one of her many boyfriends.

Samantha has a terrible secret!

What we quickly learn is that Sam is the illegitimate daughter of the original Woodsboro murderer Billy Loomis (Skeet Ulrich), and is in therapy as the idea of her father being a serial killer has caused a few mental issues.

Of course, the killer is back, but this time is killing the children and/ or family members of the original victims/ killers, and one by one, people are being murdered who somehow relate back to the original murders

This alerts Sydney Prescott (Neve Campbell) and Gale Weathers (Courtney Cox) to the situation, and make there way back to the town to help in whatever way they can, but could it have been that the villain(s) of the piece wanted exactly that?

Sydney and Gale don’t have ANY secrets!

Like other Scream movies, the story is pretty silly and far fetched, and relies characters to behave in a way that real people don’t. That’s just movies I guess. One thing is, though, is the need justify its existence via a dialogue-based meta-explanation that talks about the state of franchised cinema, and also references itself in a matter more mastubatory that wanking to a home video of yourself wanking. Even down to mentioning how stupid and frustrating new horror films naming themselves like they are the original is unfunny and doesn’t shows a sense of irony: it shows the writers off knowing what they are doing, why they are doing it and are still big enough jerks to make us spend the rest of our lives saying ‘no not that one, the original one’.

As usual with the Scream films, after the first one that is, the motivation for the murder(s) is somewhat lacking, and if not for the quality of acting and violence, would have been flat and uninteresting.

I do have to say I liked the cast, no matter how unliveable the character was. The acting is on point and the cast are certainly a lot more convincing that previous entries. Some of the throwbacks to previous episodes, like Randy’s sister played by Heather Matarazzo from Scream 3, Marley Shelton from Scream 5, Neve Campbell, Courtney Cox and David Arquette from the entire series are an obvious addition. By the way, Arquette has turned into a super-cool ex-cop action hero type, and I want to see him in something like the Bob Odenkirk movie Nobody.

I did find one thing deliciously wonderful about it: considering it’s pedigree of PG-rated, more teen friendly violence, this has some moments of brutality that are stunningly surprising. Some slow, penetrating stab shots that take no prisoners and a leg/ ankle snap that made some parts of me shrink so much I’m gonna need a hot bath to set them free from cowering in my lower abdomen.

Are we gonna see another one? It feels like it, for sure. Do we need another one, no: not even slightly.

Score: ***

The menu from the 4K release

Extras: The extras on this disc are quite interesting, and really do pay tribute to Craven’s creation (even one of the characters names is Wes).

There is a Commentary by writers James Vanderbilt and Gus Busick, directors Tyler Gillett and Matt Bettinelli-Olpin and executive producer Chad Villella which is great, as it really covers a lot of aspects of the film, though their assumption of an asthma inhaler in the first scene was ‘very very subtle’ makes me wonder if they have ever seen a movie before. Come on guys, if someone is asthmatic or diabetic it DEFINITELY a plot point later in the film.

The Deleted Scenes are worthless and the film is better off without them.

New Blood compares the original film with the new film, and they talk about how important the film is in film history. Let’s face it, the original film probably did save the dire place mainstream horror was in at the time.

Bloodlines is the same as above but with the cast.

In The Shadow of the Master looks at Craven’s history and influence on the horror genre.

Scream 1996 (see, what did I tell you) trailer.

Score: ***

WISIA: If I was to watch an entire franchise again, I probably would, but I wouldn’t watch it as a single one-off film again.

Wes cops it.

Death Proof (2007)

Death Proof (2007)

The cover of the Australian Bluray of Death Proof

Film: The idea of Grindhouse, the double feature cinema experience conceived by Robert Rodriguez and supported by Quentin Tarantino, Rob Zombie, Eli Roth and Edgar Wright was an excellent one. Make two movies in a mock double feature, with trailers for either never or yet to be made films in between, with devalued image and sound so that people today could feel like it felt back in the day of the 42nd St Grind house cinemas. Those cinemas named so because they showed badly re-cut horror, sci fi, exploitation and blaxploitation flicks one after another in a constant grind.

What a shame no-one else thought so…

It would seem the general public didn’t have the idea promoted to them well enough, or the promoters just didn’t get it. After the opening weekend of Grindhouse, which was a poor one, the distributors, the Weinstein Brothers, decided to pull the film so they could re-think the promotional release. Now, there are dvd and Bluray releases that come as ‘Uncut and Extended’ editions of Rodriguez’s zombie blood fest PlanetTerror, and this one, Quentin Tarantino’s 70s styled car chase extravaganza Death Proof.

Stuntman Mike (Kurt Russell) observes his prey

Death Proof starts in Texas with three friends Arlene (Vanessa Ferlito), DJ Jungle Julia (Sydney Tamiia Poitier) and Shanna (Jordan Ladd) having a few drinks and enjoying each others company when they meet a stalker, Stuntman Mike (Kurt Russell). Stuntman Mike is a man stuck in the past dwelling on his past conquests in Hollywood, and can be as charming as a snake. He worms his way into their good graces and offers a member of their extended group Pam (Rose McGowan), a lift home in his car which he claims to be ‘death proof’. Soon after, a dreadful automobile accident happens and only Stuntman Mike survives. The police suspect foul play, but Stuntman Mike is a teetotaler, whilst the others were all drunk or stoned. Flash forward 14 months later and a new set of girls are being stalked. Actress Lee (Mary Elizabeth Winstead) make up artist Abernathy (Rosario Dawson) and stuntwomen Kim (Tracie Thoms doing her very BEST Pam Grier impression) and Zoë (played by Zoë Bell, New Zealand stuntwoman), but what Stuntman Mike doesn’t realise is….these girls fight back!!!

This film is made perfectly for Quentin Tarantino fans. The cool music, hip characters, smartarse dialogue and the references to other Tarantino films (and this film is loaded with them!!!). Funnily enough, Tarantino used to riff on other great films, but now he also does it to his own, which at times felt a little masturbatory.

I saw this cut of this film before the version as a part of the Grindhouse experience, which was about 45 minutes shorter, and I must say I am glad, as I don’t think I would have liked to have missed out on any small part of this film. The action scenes are few and far between, but you are lulled into such a false sense of security with the ‘talky’ bits that when they do hit…. you stand up and shout ‘HOLY SHIT!!!!’ Tarantino has been criticised for this film being far too talky, but for me it works really well and I enjoyed watching the performances of the female cast members all spouting Tarantino-isms.

The female characters and the actresses that play them are great, and I couldn’t decide which one of them I liked the most…. Although I suspect Tarantino liked Zoe Bell the best, but with a special mention to the feet of Dawson and Poitier, which get some pretty full screen exposure!!

Tell me you’re watching a Tarantino film without telling me you’re watching a Tarantino film…

Car lovers will dig this flick as well. Stuntman Mike’s 1970 Chevy Nova is truly a site to behold, not to mention his 1970 Charger, Kim’s 1972 Ford Mustang nicknamed L’il Pussy Wagon aka ‘Brand X’ and the white 1970 Dodge Challenger that Zoe Bell spends a lot of the film on top of are nothing short of pure sex. The engines on these suckers make having surround sound a worthwhile investment.

This is certainly not Tarantino’s best film, but it clearly looks through the crowd for the fattest ass – and kicks it! While this film is a definite essential pick up for any Tarantino fan and certainly a must have for lovers of the unsuccessful Grindhouse experiment, it probably doesn’t need to sit in everybody’s DVD collection. Although if you like the 60s misspent youth and the 70s carsploitation flicks, you will probably dig it.

Score: ****

The menu screen to the Australian edition of Death Proof

Extras: Disc 1 has an international poster gallery, mainly featuring the ‘lobby cards’, and with a few ‘international’ posters, and trailers for Death Proof, Planet Terror, 1408, Black Sheep and Feast… no sign of the ‘fake’ trailers from the original Grindhouse film unfortunately!

Disc 2 has some really awesome extras.

Stunts on Wheels: The Legendary Drivers of Death Proof is a documentary focusing on the film, but with much love and respect given to some of the great stunt drivers, both old and new. Featured here are stunt co-coordinator for Death Proof Jeff Dashnaw, and his team Buddy Joe Hooker, Steve Davidson, Tracy Dashnaw, Chrissy Weathersby and Terry Leonard. Much love of their abilities is provided by Tarantino, Russell and Tracie Thoms.

Introducing Zoe Bell is a short piece about stuntwoman, and in this film, actress, Zoe Bell, who was Tarantino’s stunt woman on Kill Bill Vol. 1 and Kill Bill Vol. 2, and how she ended up being a major character in Death Proof.

Kurt Russell as Stuntman Mike is a small piece about how COOL everybody thinks Kurt Russell is!

Finding Quentin’s Gals has Tarantino discussing his female casting choices, and has additional comments from Vanessa Ferlito, Sydney Tamiia Poitier, Jordan Ladd, Rose McGowan, Rosario Dawson, Tracie Thoms, Mary Elizabeth Winstead and Zoe Bell, with Russell providing some additional input.

The Uncut Version of ‘Baby It’s you’ Performed by Mary Elizabeth Winstead is a short piece showing Winstead uncut performance of Burt Bacharach’s song for Smith.

The Guys of Death Proof has Tarantino again discussing his casting choices, this time with comments from the guys: Eli Roth, Omar Doom, Michael and James Parks, Michael Bacall and himself, this time with comments from Jordan Ladd and Sydney Tamiia Poitier.

Quentin’s Greatest Collaborator: Editor Sally Menke is an interesting look at the unsung heroes of filmmaking: the editors, and in this case, Tarantino’s editor since Reservoir Dogs, Sally Menke. This is a nice tribute to Menke, and ends with some great ‘Hi Sally’ messages/outtakes from the cast.

There is also the trailer for the documentary Double Dare, which is about female stuntwomen, but specifically about stunt legend Jeannie Epper and young stuntwoman/future legendary stuntwoman Zoe Bell.

Score: ****

WISIA: Death Proof is such an unusual thing that it deserves to be watched a couple of times, I reckon.

Zöe Bell’s in BIG trouble

Special thanks to Simon from Explosive Action for the help with this review!

Texas Chain Saw Massacre (1974)

Texas Chain Saw Massacre (1974)

The Umbrella release of Texas Chain Saw Massacre

Film: I was a latecomer to seeing the Texas Chain Saw Massacre. Being in Australia and too young in the eighties to be part of any tape-swapping scene, and then a bit of a loner in the early 90s, I didn’t actually get to see it until it was first released on DVD.

Should I hand my horror fan card in now?

The problem with seeing it so late is I was completely entrenched in the hype from mags like Fangoria, Samhain, Fear and the hundred of other mags and books I had been exposed to before seeing the film. Could a film live up to everything I had heard for all those years? Of course not!

Texas Chain Saw Massacre tells of a group of young kids travelling through Texas to see a family home; Sally (Marilyn Burns), Kirk (William Vail), Pam (Teri McMin), Jerry (Alan Danziger) and the disabled Franklin (Paul A. Partain) who decide it would be fun to pick up a hitchhiker (Edwin Neal), an extraordinarily strange man who is kicked out of the van after attacking Franklin with a knife.

Edwin Neal as the Hitchhiker

The group go to the abandoned family house and split off in their various directions, as horror youngsters do, exploring the surrounding area. Unfortunately for them, they find out exactly where the hitchhiker lives, and that he has an extended family of the cook (Jim Siedow), the practically immobile (and maybe mummified?) Grandfather (John Dugan) and the terrifying, monstrous, chainsaw-wielding beast Leatherface (Gunnar Hanson). This family LOVE having people for dinner, if you know what I mean… and unfortunately for some, there is fresh, young meat available…

Since that first watch, I’ve respected this film, but haven’t held it in the high regard on my personal list of most loved films like others had, mainly because I had seen and fallen in love with so many other horror films before I had the opportunity to see it, and it didn’t feel as special as I thought it was going to be: it wasn’t very gory, or bloody, but I could appreciate it was a pretty good story and the family, especially Leatherface, the main killer and TCSM icon, were terrifying.

The iconic red shorts scene

There’s no doubt the film really looks the business. Made with a low budget in 1974, the film looks hot, and dirty, and horrible… but not as in horrible filmmaking, because it really looks like a proper horror movie. Hooper makes every set up scene sweat with the heat, and every scene with the bad guys in it is full of dread, and that combination of heat and dread really makes the whole experience really claustrophobic, which is what proper horror really does, and because you see the cast both hot and in fear, you find yourself in the film with them. The upgraded and cleaned up version of the film may have been criticised by some upon release as it made the film look ‘nicer’, but it’s a grimy enough film to be able to overcome that.

I must put a caveat here and say ‘except for one’ in regards to the cast of characters. For me, the entire experience of this film is spoilt by the character of Franklin. I like to get really involved with the characters experiences and feel what they are feeling, but every time Franklin’s immature, whiny drawls come out, I disassociate from the film and find it hard to get back into it. Thankfully he doesn’t spoil the final scenes of the film, so at least the pay off is good.

I appreciate just how important this film is not just to horror, but to the film industry in itself, but personally, there are a lot more films that appeal to me far more. Still, everyone should see it at least once in their lives so they can understand that a film doesn’t have to be Citizen Cain or Gone With The Wind to lay industry foundations that will forever hold strong.

The menu screen to the Bluray release

Score: ***1/2

Extras: The disc opens with trailers for the Umbrella Entertainments releases for The Babadook, and The Quiet Ones, before we get SO many extras! There’s so much information for cast and crew across these extras, after you have finished watching them, you will feel like an expert on the film.

There are 4 (!) commentaries on this disc! One with Tobe Hooper, another with cinematographer Faniel Pearl, Sounds Recordist Ted Nicolaou and Editor J. Larry Carroll, a third with actors Marilyn Burns, Paul A. partial, Allen Danziger with Art Director Robert A. Burns and finally one with Tobe Hooper, Daniel Pearl and Leatherface himself, Gunnar Hanson. The first two commentaries are labelled as ‘new’ so I assume the others are on previous releases. There is just buckets of anecdotes and recollections across these 4 commentaries they almost make the other extras redundant!

‘Off The Hook’ with Teri McMinn is an interview with the actress who portrayed Pam, who, for me has the iconic shot in the film where she walks across the from of the house in the bright red shorts. There’s also that other iconic scene where she I’d definitely ‘on the hook’ but still, I love the shorts scene.

Interview with actor John Dugan, who played the Grandfather, under LOTS of makeup, obviously. He talks about his days in set and the heat (a common theme) under that mask.

Interview with Production Manager Ros Bozman of which TCSM was one of his earliest jobs, but he went on to do films like Philadelphia and Married to the Mob… he went legitimate, if you will. Again, interesting look at the film production from the POV of the actual production manager makes for an interesting watch.

40th Anniversary Trailer is the trailer made for the remastered version of the film.

Horror’s Hallowed Grounds with Sean Clark – a visit to TCSM Location. I like the HHG stuff in general as the revisiting of some of the locations can be fascinating, and this isn’t different. I do have to say I hate the skate punk film clip intro, but I’m willing to forgive that for the content of the rest of the episodes.

Deleted Scenes and Alternate Footage are the usual bunch of things that the film is probably better off without, which it’s popularity obviously proves.

Blooper Reel is ok but looks like it was filmed through a screen door.

Theatrical Trailer, Tv Spots and Radio Spots is about 5 minutes of the original advertising for the film. Now we have this beautiful remastered version it almost seems weird to see it so washed out and grainy… has the film lost something with the clean up? Not to me but I’m sure there are many who prefer the more ‘grindhouse’ feel to the way it used to look.

There are two documentaries on this disc; ‘Flesh Wounds’ and ‘Texas Chainsaw Massacre: The Shocking Truth’. Flesh Wounds is divided into 7 parts and is a far more by-the-fans-for-the-fans affair, whereas The Shocking Truth is made as a more traditional doco about the film.

The Tobe Hooper interview and Kim Henkel interviews are certainly the nuts and bolts interviews of the entire disc. Interesting but some of the info has been heard before on the various commentaries and other extras across the disc.

Killing Kirk outtakes is exactly what it says on the box. Some different takes in Kirk’s murder. No commentary or sound though.

Outtakes from ‘The Shocking Truth’ is about 7 minutes of extra footage from the Shocking Truth doco not used in the film.

A Tour of the TCSM House with Gunnar Hansen is a 1993 shot-on-video look at the original location for the house where the original film was made, with commentary by Hanson as he wanders through with the camera crew, and then another in 2000 after the house had been restored… and it’s disturbingly filled with Easter bunnies and paraphernalia!

Score: *****

WISIA: Even though it’s not even in my top 20 favourite horror films, I still will watch it now and again to remind myself of it’s importance not just in the horror film industry, but the entire film industry.

Marilyn Burns as Sally, freaking the hell out!

This review was done with the Australian release of the film, provided by Umbrella Entertainment.

Whiteout (2009)

Whiteout (2009)

The cover of the UK release of Whiteout

Film: One of the big problems with comic to film projects is compression.

If one is making a film of say, Spiderman, a cinematic script writer needs to look at 50 odd years of history and compress that into 2 odd hours of movie. Some writers attempt this by directly adapting a story, others just try to get a ‘feel’ for the character and others try for an amalgam of tales. Some would say that this is why many comic to film movies didn’t work, and why the modern comic movie DOES work as it simply gets its inspiration from the original work.

Ideally what one would do is to get a story that is a one off, like a novel! Whiteout is a comic written by Greg Rucka, who has written for DC’s Wonder Woman and Action Comics, and illustrated by Steve Leiber, who has illustrated Detective Comics and Conan and is published by independent publisher Oni Press.  Whiteout was popular upon its release in 1999 and to date has produced a sequel, Whiteout: Melt which earned an Eisner Award in 2000 for Best Limited Series. A third series Whiteout: Thaw, renamed Whiteout: Night, is yet to be published.

The film adaptation of Whiteout was directed by Dominic Sena who also directed the Nic Cage vehicle Gone in 60 Seconds and the Travolta/ Jackman thief gumbo Swordfish.

Kate Beckinsale as Stetson

Whiteout starts in 1957, with a Russian transport plane crashlanding into the snow after a gunfight between the co-pilot and a security team who are responsible for guarding ‘something’ results in the pilot getting his brains blown out.

Flash forward to now, and we are introduced to US Federal Marshall Carrie Stetko (Kate Beckinsale) who, after a disastrous experience with a traitorous partner, has worked in a research station in remote Antarctica for 2 years. The station is in a part of Antarctica that becomes so cold in the winter that planes aren’t allowed in or out for three months, and so the majority of the workers leave for that period. Stetko has decided to leave her position as ‘town sheriff’ permanently, and make preparations to leave for the last time. Unfortunately, her last days are marred by what appears to be a body seen by a pilot in a fairly remote part of the area which she has to investigate.

She grabs the Station’s doctor ‘Doc’ (Tom Skerrit) and they, along with a pilot Delfy (Columbus Short) fly out to the remote area where the body was seen, and what they find is not an accident victim, but the corpse of one who has been… murdered.

The body mysteriously abandoned in the snow.

So the story begins, and we have Stetko having to solve a murder in only a few days, and when it becomes compounded with the mystery involving the aforementioned crashed plane, and a case of gangrene to contend with, she has her work cut out for her.

The film on the surface appears to be quality, but somewhere along the line, just doesn’t click. There is nothing wrong with the acting, the story is a fine murder mystery, the direction is good, but for some reason it just doesn’t all gel.  I think it might be just that it has all been seen before, and the film doesn’t really offer anything new to the table. Essentially we have a Wild West sheriff attempting to solve a Holmsian mystery on the set of John Carpenter’s The Thing. I suspect this problem with it stems from the producers being dazzled by the visuals of the comic, but didn’t really see that it was a fairly average mystery story, and when those clever drawn visuals are removed, the story can’t quite hold its own.

Think of it this way; would the film Sin City have been so clever if they had made a straight up colour film adaptation, or would it have been a collection of fairly generic noir (without the noir) stories. I love that film, but am well aware that a good percentage of my affection for it comes from the visuals.

It has all the elements of a great thriller, with a pretty good cast to boot, but somehow, tragically, falls flat.

Score: ***

The Whiteout Bluray menu screen

Extras: After the disc starting with trailers for The Imaginarium of Dr. Parnassus, The Hurt Locker, The Keeper, and a Snickers advert starring Mr. T (remember them? ‘GET SOME NUTS!’) there’s a couple of decent extras on this disc:

Whiteout: The Coldest Thriller Ever is a traditional ‘making of’ documentary. It shows behind the scenes footage and has interviews with various cast and crew. Work-a-day DVD and BD extra stuff.

Whiteout: From Page To Film is a look at this process of writing and drawing the comic, and how it was adapted to the screen. There are some good insights into how an adaptation can work, or not work.

Deleted Scenes: At about 4 minutes you can see that these deleted scenes don’t really show too much extra, though they one shows both an appearance by writer Greg Rucka, and a look at just how mundane Carrie’s regular policing of the station are.

Score: ***

WISIA: Watch it once and give it away.

This film was reviewed with the UK Bluray release.

The killer kills again!

Hatchet for the Honeymoon (1970)

Hatchet for the Honeymoon (1970)

The slipcase to the Cinema Cult release of Hatchet for the Honeymoon

Film: I have a feeling that I don’t always give enough tribute to the ‘cult’ and horror’ part of my websites tagline, but sometimes it’s hard seeing as how superhero movies come under ‘sci-fi’ or ‘action’ (technically) and as a tiny website drowning in a sea of other bigger, and probably better websites, sometimes having ‘Batman’ or ‘Iron Man’ rather than ‘Dario Argento’ or ‘Mario Bava’ in your tags give you a higher SEO. That may sound a little rude, but even though I do enjoy writing movies, seeing that people are reading them is nice too!

Not today though, my horror loving friends! Today I’m overcoming my need for mainstream validation and it’s all about the aforementioned Mario Bava; easily one of the most important filmmakers of the twentieth century! Bava comes from a family of film experts, his father being Eugenio Bava, a cinematographer from the early days of cinema, and even though Mario trained as a painter, he eventually followed his father’s footsteps but his artistic flair is apparent in almost every film he made.

Stephen Forsyth as the tortured psychopath John Harrington

Seriously, I’m not going to bang on about Bava and his amazing films, but I will say if you DON’T know who he is, fix that immediately by watching things like Black Sabbath, Black Sunday, Blood and Black Lace and one of the best comic-based movies ever made, Danger: Diabolik!

Unfortunately, and at a risk of burying the lead, which is another way of saying ‘SPOILER ALERT’, this film isn’t in that category of ‘Bava’s you must see’.

Hatchet for the Honeymoon tells of John Harrington (Stephen Forsyth), a handsome man who suffers from an intense childhood trauma that he simply can’t remember, but he has discovered that every time he kills a bride, he gets closer to unveiling that which his mind has hidden.

Unfortunately, our dear killer has access to lots of beautiful young women, as he has inherited his mother’s bridal fashion house, which is predominantly kept afloat by the money from his wife, Mildred (Laura Betti), whom he wishes to divorce, but she flatly refuses, instead torturing him with her presence.

Dagmar Lassander as Harrington’s wife, Helen.

She tells him that she is going away for a week, but this is simply a ruse by her to catch him in an infidelity but he is so frustrated by her presence that he kills her and buries her in the garden. Everyone else maintains that they continue to see her about the grounds, which seems to lead John deeper into his madness, and an attempt at yet another murder…

It’s a weird bird, this film. Posing as a giallo but it’s fails to do so as it completely ignores the idea that we, the viewer, are to ‘help’ with the investigation, and we are only to ever see the murders from the killers point of view. Also, the inclusion of the subplot about the wife, which is totally unnecessary as it overcomplicates proceedings and makes the film’s flow choke on several occasions. This film would have been far better with just the idea of the woman-hating murderer having access to so many young women, which is a far scarier idea.

It is, however, beautifully shot and is worth looking at for Bava’s skill behind the camera, but as I stated earlier, there are better films of his to see that.

Score: **1/2

The menu screen for Hatchet for the Honeymoon

Extras: Unfortunately there is just trailers for other films that were released under the ‘Cinema Cult’ label, like the trailer for this film, Masters of the Universe, Dr. Phibes Rises Again, The Abominable Dr. Phibes, Electra Glide in Blue, Vanishing Point and Killer Klowns from Outer Space. It’s doesn’t seem like much, and it’s literally just adverts for other products under this label, but I must admit I took a great deal of joy in watching these trailers!

Score: ***

WISIA: No. it’s not REALLY worth the first watch as there are better choices. Want to watch a giallo? Watch Bay of Blood or Tenebrae or Deep Red. Want to watch a film about a madman who kills women? Well, Psycho or Deranged or either versions of Maniac are far better choices.

This film was reviewed with the Australian Cinema Cult edition Bluray.

Stare into the eyes of one of the victims.

Spiral (2021)

Spiral (2021)

The cover of the Australian Bluray release of Spiral

Film: As far as I am concerned, 2004 was an amazing turning point for horror.

I still remember being put flat on my butt by a little film by a couple of guys who used to be on some music/ youth program on ABC, James Wan and Leigh Whannell, and a little low-budget blockbuster they made called Saw.

What was quickly called ‘torture porn’ was something high on my radar and whenever Rue Morgue or any other mag suggested a film might be in this sub-category I searched it out. I was also pretty stoked to find sequel after sequel too.

In 2017, an attempt was made to relaunch the franchise, and it was more of the same and it was fine. It, as I said in my review for that film, was a series of gore ‘money-shots’ which is what the series did become, and you endured a sometime ludicrous whodunnit in between.

Did this film try and do something different? Well no, but instead it changes the idea of an acolyte of Jigsaw, so someone impersonating his methods to a similar end.

Max Mingella and Chris Rock

Detective Zeke Banks (Chris Rock) is not a well-liked police officer. A few years ago he ratted out a fellow police officer and no one has trusted him since, so he’s worked fairly solo, sometimes not quite toeing the line of the law to solve investigations.

As these stories work out, he’s not played the game for the last time and his boss, Captain Angie Garza (Marisol Nichols) has decided he needs,to have a partner to ‘tame’ him, and so he is lumped with young and green Detective William Schenk (Max Mingella).

There first investigation together is what looks to be the death of a hobo in a subway, (a death that we, the viewers, know to have been a quite torturous murder) but very soon, Zeke receives a parcel that contains his tongue and a police badge, and we learn that this body is actually that of Zeke’s only friend in the force, Boz (Dan Petronijevic).

Of course, all the police want to be involved in the investigation of a cop murder, but soon, other cops start disappearing, each of them tortured in some horrible way before they died, and the tortures representing some way in which they were corrupt… but who is committing the murders, and will Zeke be able to save his father, Marcus Banks (Samuel L. Jackson), the chief of police, who has also been taken…

Boz discovers the absolute worst way to catch a train… from the front!

I like the idea if the Spiral killer taking Jigsaw’s methodology of being a vigilante of justice and applying that the the police force, and the writers seemed to have hit the current feelings in America with that as an idea as well. Perhaps in a BLM world, Rock’s employment as the male lead echoes that thought too.

Whilst on the subject, I like Chris Rock, and I’ve liked his performances in most roles he’s been in, but let’s face it, his range isn’t great. Rock is GREAT at playing Rock! His performance here is surprising, I admit, but occasionally, just occasionally, it doesn’t ring true, which is a shame as he is such an atypical hero for this type of film. Not just being an African-American in a horror movie lead, but also that he’s wiry, and his character is abrasive and almost unlikable at times.

The rest of the cast were fine. Max Mingella wasn’t really given much to do at first and unfortunately his flaccid performance didn’t really pick up. Jackson played Jackson as he always does and no one plays it better. The standouts were all the cops, each one playing their role like a hard done by SVU character, who’s performances never seemed over the top due to Chris Rock screaming ‘MOTHERFUCKER’ at the top of his voice every other minute.

One other problem with this film is just that it’s like every other Saw film. A new name and a fresh coat of paint, and a younger villain don’t really make the film stand out too much, which is a shame because I was looking forward to more of the same, but something different.

The film is ok, but it doesn’t really stand out because of these reasons. I do hope this becomes a new series because I’d like to see some growth of our new hero and villain combo, but I’m not sure that will happen.

Score: **1/2

The menu screen of the Australian Bluray release of Spiral

Extras:

The Consequence of your Actions: Creating Spiral is a documentary for some reason divided into stupid single chapter instead of just cutting it together as a single ‘making of’. These chapters are called A New Chapter in an Old Book, New Blood, A Steady Hand, Setting the Traps and Hacking Away. As a making of, it’ s fine.

Drawing inspiration: Illustrated Trap Breakdowns sees Bousman look at two of the trap effects and how they were conceived and what the MPAA wanted removed!

Decoding the Marketing Spiral looks at the consistent marketing of all the Saw films. It’s a brief but interesting look at how movie marketing works. I’d like a whole documentary about this please!

Score: ***

WISIA: Just like Jigsaw, it’ll get trundled out whenever I go on a Saw/ torture porn binge, but it will not finish with a happy ending.

This review was done with the Australian release Bluray

Electrocuted and de-fingered.

Freaky (2020)

Freaky (2020)

The cover to the Australian release of Freaky

Film: So what are the three 80s movie tropes that get rehashed across genres? Surely it would be the ‘repeat the same day over and over’ (like Groundhog Day, Big, Happy Death Day), the ‘kid-gang achieving something incredible’ (like Goonies, Monster Squad, Stranger Things) and finally, the body-swap/ age-up trope (like Freaky Friday, Big, and this film, Freaky).

Our film starts in the town of Blissfield, on Wednesday the 11th… think about it, you’ll get it… and we find 4 cookie-cutter teens partying at one of their houses, talking about a local legend of a serial killer know as The Blissfield Butcher (Vince Vaughn). The parents of the kid who own the house are collectors of historical antiquities, and they are impressed by a ceremonial dagger that they recently acquired.

The freaky mask of the Blissfield Butcher!

Of course, as you would expect, ‘partying = death’ and the Blissfield Butcher appears, dispatching them all, and making off with the knife.

Next we meet local school student, Millie (Kathryn Newton) who is a bit of a dweeb, and unfortunately finds herself stuck alone at night outside the school football field after the latest game of sportsball. Guess who turns up, not to pick her up, but instead to take her down? That’s right, it’s the Butcher (I’m dumping the Blissfield bit from now on as I assume you’ll know who I’m talking about!)

He pursues her, finally catching her and stabbing her… but something strange happens: they swap bodies, so now we have the scary concept of a psychopathic killer trapped in a teenage girl’s body, and a teenage girl trapped in that of a killer’s!

This leads to Millie (now played by Vaughn) having to try and find out what happened to her, and how to get her body back but not before convincing her friends that she’s not the Butcher… hell, that she’s not a 50 year old man.

Meanwhile, the Butcher (now played by Newton) has the perfect disguise to slip into school-age culture and continue his… her?… their carnage hidden amongst the teens.

The Blissfield Butcher in Millie’s body!

Obviously, Millie wants her body back, but how will her and her friends do it?

Like all of these sort of films, the comedy comes from the actor’s ability to impersonate each other, but neither do it very well. Newton goes from being bubbly and cute to deadening her eyes to the point that even though she is a good foot shorter than Vaughn, she possible even scarier. Vaughn, on the other hand, gets to display his comedy-skills in his performance as a teenaged girl, though I think perhaps his impression of Newton is far more a parody of the teenage girl trope rather than an accurate portrayal of her.

The story, written by Michael Kennedy and director Christopher Landon, though derivative of all of these types of stories, is still fun, and it’s not the first time Landon has plumbed a comedy trope for a film, as he mined Groundhog Day for Happy Death Day and Happy Death 2U. Landon also responsible for A Scout’s Guide to the Zombie Apocalypse, which I like a lot. He’s a director who is happy to combine a bit of a laff with a good dose of violence and gore.

He’s also responsible for 4 of the Paranormal Activity sequels, but let’s NOT talk about those…

Speaking of gore and violence, let it be known that even though this is modern horror, it doesn’t skimp on either, to the point I was actually surprised by just HOW violent it gets, and most of it is onscreen and in your face!

Typically, as you would expect in a slasher film, there are some moments of frustration due to the characters movements, but let’s face it, to criticise character stupidity is to criticise the genre as a whole. Another criticism is the Hollywood trope of the dweeby girl, who is played by an attractive actress and it not quite ringing true. It IS a Hollywood trope however and hard to criticise because again, it would be criticising an entire genre.

All-in-all, I was really entertained by this film by its bloody horror, entertaining story and charming cast.

Score: ****

The menu screen to the Australian Bluray release of Freaky

Extras: There’s a decent bunch of extras on this Australian Blu-ray Disc. Unfortunately the features are quite short but they have a few snippets of interesting info throughout them.

Deleted Scenes are, as one can occasionally appreciate, definitely unnecessary.

Split Personalities: Millie vs The Butcher discusses the way the two lead actors swapped personalities for the film.

Crafting the Kills is great for fans of the special effects stuff.

Christopher Landon’s Brand of Horror is a little dumb. It’s a fluff piece celebrating the directors choices but it doesn’t really look at his ‘brand’, so much.

Final Girl Reframed looks at how the idea of the ‘final girl’ in horror movies is turned on its head for this film.

There is also a Feature Commentary with Christopher Landon, which is full of not just interesting anecdotes about the making of the film, but some funny Easter eggs and the occasionally filmmaking tip.

Score: ***1/2

WISIA: Like the aforementioned Happy Death Day and A Scout’s Guide to the Apocalypse, I find this movie charming and light enough, even through the gore, to be a fun film just to watch whenever, so yeah, it’ll get watched again!

A pile of deceased jocks.

Nightmares (1980)

Umbrella’s release of Nightmares

Film: When I was a teen in the 80s, I worked in a video store, and for a movie fan, it was a dream come true. I spent 5 or 6 hours by myself every Sunday afternoon, and because it was still a little bit of the Wild West as far as films were concerned, I could watch what I liked in the shop, and could usually get three movies in on one shift.

I predominantly watched horror, sci-fi and action, and didn’t realise it but became a fan of what I discovered (because of Mark Hartley’s 2008 documentary Not Quite Hollywood), a thing called Ozploitation! Mad Max, Mad Max 2, Turkey Shoot, Thirst; I loved these films because they looked like low-budget Hollywood films, but were full of Australians, and that made me think that maybe I mould be in a movie, or write a movie, or direct a movie.

Tragically, my talents don’t lie in those areas and instead I have spend 20 odd years writing about movies, and occasionally I’ve been lucky enough to review one of those Ozploitation films, and here we are today, with John D. Lamond’s Nightmares, aka Stage Fright ready to review for your pleasure.

Jenny Neumann as Helen Selleck

Nightmares tells of Cathy (Jennie Lamond) accidentally causes a car accidentally that kills her mother, which it combination with the suggestion of abuse, turns her into a psychotic fruitcake of the highest order!

Years later she has changed her name to Helen (now played by Jenny Neumann), and has become an actress, because, you know, the best thing psychologically a psychopath can do is further their issues by getting a job where they lie for a living by pretending to be other people.

She lands a part in a play produced by George D’alberg (Max Phipps), co-starring Terry Besanko (Gary Sweet) who promptly becomes besotted with her. Unfortunately for them all, there is a murderer loose in the theatre, but who will be the next victim, and what do the murders have to do with the psychotic flashbacks Helen/ Cathy has been having?

This isn’t going to end well…

Some might call this B Grade trash, but it’s A grade trash, and that A for stands for Australia, and it stands proud, with a kookaburra shitting on its shoulder as it slips in kangaroo shit because it was too busy looking a bikini-clad tits on Bondi beach.

As expected for a film by John Lamond, it’s as sleazy as an unwashed buttplug abandoned on a train. The idea was devised by Lamond with John-Michael Howson (who also plays camp critic Bennett Collingwood) and the screenplay was written by Colin Eggleston, who wrote scripts for Cop Shop, The Sullivans and Division 4, and was the director of Briony Behet film (who is ALSO in this) Long Weekend.

I’m not sure quite what the script was attempting to do, but surely George Lucas must have used this for the template of ‘the worst hidden bad guy/ whodunnit’ in a film when writing the Star Wars prequels.

Those who prefer to avoid films featuring ‘cultural cringe’ might prefer to avoid this film, but loving Ozploitation like I do, I revel in it. It’s definitely not for the easily offended, or for PC crusaders, but I have to admit to giggling and chuckling at the strine, the ockerisms and enjoying the appearances of many actors of this period in Australian cinema and television.

The nudity isn’t bad either.

Clearly the idea behind the film was to emulate things like Halloween, Friday the 13th and maybe even a few early giallos and honestly I can’t figure out if the addition of the Australian-ness to it makes it or breaks it. The whole film is overacted and paced oddly but I can’t help but enjoying every second of it.

As a side note, I have to give this film credit for possible the finest lines of Max Phipps’ career; ’You are not an actress, but instead are an actress’s big brown freckle!’ With every ‘r’ rolled off the tongue with spite. Hilarious.

Score: ***1/2

Umbrella’s Nightmares menu screen

Extras: This disc has a great set… of extras!

First we have an audio commentary by Lamond, along with Not Quite Hollywood director, Mark Hartley which also leads into extended interviews from the documentary with Lamond, actress Nina Hartley and cinematographer Gary Wapshott. There’s some real interesting insights into the Australian film industry of the time, and some great anecdotes, and can I say how much I love actors who say ‘I wouldn’t see a film like this’ but they don’t mind acting in them.

There’s a bunch of deleted scenes which, as usual, the film doesn’t miss. They are in pretty poor quality but that’s to be expected as they are sourced from a VHS in Lamond’s archives.

Confessions of an R-rated Film Director is a short with an extended interview with Lamond.

There’s a Lamond trailer reel featuring Australia After Dark, The ABCs of Love and Sex Australia Style, Felicity, Nightmares, Pacific Banana, Breakfast in Paris and Sky Pirates.

There is also trailers, a TV spot and promotional stuff for Nightmares.

Score: *****

WISIA: How could I NOT watch it again?!?

Max Phipps as George

This review was done using the Australian Umbrella Bluray release.

This review copy was supplied by Umbrella Entertainment.