Director – Jim Jarmusch
Cast – Tom Hiddleston, Tilda Swinton, Anton Yelchin, Mia Wasikowska, John Hurt, Jeffrey Wright
Release Year – 2014
Reviewed by John of the Dead
When I think of indie filmmaker Jim Jarmusch I do not think of the horror genre, so when I learned that he filmed a flick referred to as a “crypto-vampire love story” I was stoked to see what he could do. Starring Tom Hiddleston, who replaced Michael Fassbender, Only Lovers Left Alive is a dramatic experience that may be a little light on the horror, but is nonetheless one of the best horror films of 2014. It moves slowly, but the subject matter and acting performances were so engaging that I hardly took notice to that. Instead, I left with a new appreciation for Jarmusch’s talents.
In the abandoned sprawl of Detroit lives Adam, an underground musician who has lived as a vampire for centuries. With depression kicking in as a result of his displeasure over mankind’s insidious downfall, his wife Eve, living across the world, reunites with Adam. What happens next displays the beauty, and troubles, of eternal love.
I am not a fan of vampire films. I am also not a fan of “horror” films with very little horror. Only Lovers Left Alive is both, and I really enjoyed it. Jarmusch writes and directs this piece, and his story begins with a heavy emphasis on Adam’s character. We learn that throughout the last few centuries Adam has played a role in the careers of famous scientists and musicians, but these days he is withdrawn and suicidal. He has a strong contempt for the world that the humans, who he refers to as “zombies”, have made for themselves and feels that they have missed their apex by squandering opportunities for advancements in education and science. His life as a musician is his escape from such disparity, however he finds himself at odds over recognition and his fans discovering his terrible secret. He befriends Ian, a young musician whom Adam pays to attain rare instruments and handle his odd requests, which are bound by a confidentiality agreement. For the first 39 minutes Adam’s character is established, then Eve walks back into his life.
Their reunion is heartfelt, tender, tame, and never feels forced. Married for centuries, they have spent the latter years halfway across the world from each other. This couple is unlike the typical vampire, who ventures out at night to drink the blood of the living. Instead, they drink the “good stuff” from local suppliers, fearing that fresh human blood has been contaminated by poor diet and the degradation of their environment. Yeah, it sounds like social commentary to me too. It takes a long while, but conflict finally arises at the 80 minute mark, which means you could have watched all of REC before anything juicy happens. I did not necessarily balk at this because simply put, this is not that type of film. Sources say that when Jarmusch was approached about adding more action to the film he instead removed all of the action that was already in it (which took place early in the film). This does not mean that Only Lovers Left Alive is without horror. There are a select few scenes of horror, and while they do not hit overly hard I found them pretty effective. This is first a dramatic melodrama and then a horror film, so keep that in mind.
I have seen other viewers mention that “nothing happens” in the movie, and I understand where they are coming from. This is especially understood when you consider that this is a two-hour movie. I must say that a lot does happen in the film, but the developments are mild and therefore the flick feels like it does not offer much. That could not be farther from the truth. We watch a relationship that has stood the test of time, which includes moments of weakness, depression, despair, and heartbreak. That is hardly uneventful.
Jarmusch’s direction is top-notch, and played a huge role in keeping me engaged during this “slow” film. His atmosphere is incredible, and as a film junkie he did his best to employ different lenses and lighting to make this digital (due to budget reasons) film appear acceptable to his liking. I loved the sets used for Adam’s home, which was adorned with vintage guitars, amplifiers, and framed photos of history’s most notable minds, who he apparently had an influence on over time. Next come the acting performances, which are some of the best I have seen in recent time. Hiddleston is perfect as Adam, Tilda Swinton meshes wonderfully with him, and together they create one hell of a couple to view. The supporting cast also deliver good performances, with actors Anton Yelchin and John Hurt getting more screen time than the possibly underused Jeffrey Wright. So how is Jarmusch’s execution of the horror? It was good, but keep in mind there isn’t a whole lot of horror here. We see one major death, and most of the good stuff occurs off-screen. Much to my surprise, though, the death was shocking nonetheless and that’s because I knew it was coming. Jim’s execution was THAT good.
Overall, Only Lovers Left Alive is a sure that is sure to please those who enjoy a good story in a dramatic horror film. It is also amazingly well-shot, making it a visual treat I suggest you check out.
Director – Kevin Kolsch, Dennis Widmyer
Cast – Alex Essoe, Amanda Fuller, Noah Segan, Fabianne Therese, Shane Coffey, Natalie Castillo, Pat Healy, Nick Simmons, Maria Olsen
Release Year – 2014
Reviewed by John of the Dead
Women suffering psychological torture to attain what they want in life are a real life tragedy, and it is the basis of horror in Starry Eyes. I can’t think of many horror films involving an actor in a film, so this idea is unique in a day where genre fans are begging for something “new”. On top of this, the film dabbles into the cult sub-genre. Writing/directing duo Dennis Widmyer and Kevin Kolsch, Widmyer’s employer, who happens to be famed author Chuck Paluhniuk, played a heavy role in helping the filmmakers attain the financial support they needed to make the film, which winds up as one of 2014’s most unique.
Alex Essoe stars as Sarah, an optimistic yet severely struggling actress desperate for her big break. When she finally succeeds at an audition for a major studio, she discovers the heinous secret behind the Hollywood elites she wishes to join.
The story begins with a strong emphasis on the struggle Sarah faces as she pursues her dream to become an actress. She works a dead-end job as a waitress for a lowly restaurant and a loser of a boss. In her free time she attends casting calls and the end result is usually the same – she never gets called. It is obvious she has talent, but the only person who is taking notice to it is…herself. Now when I say she “desires” to be an actress, I mean that in the most extreme way possible. After failed casting calls she makes drastic, psychotic decisions that leave her physically maimed. She finally gets her break though, when a notable studio gives her a shot after taking notice to her drive and determination. The casting directors are very odd, but don’t be turned off by them right away – their mannerisms serve a purpose. When she receives a second call back from the company her audition takes a more drastic turn than the first, and things begin to get fishy as I detected that something was very wrong. It isn’t until the 31st minute of the film when we start to get an idea behind what is going on with her auditions and the shady figures behind them. Without giving too much away, I can only say that there is a daunting secret behind how the Hollywood elites achieved their stardom, and Sarah has a decision to make. She can turn them down and keep struggling, or she can give in and pay her dues. I don’t think I am spoiling anything in saying that she chooses the latter.
The story begins a bit slow but you should still find yourself engaged thanks to the hell that Alex puts herself through. Basically, her torture is your entertainment. The first act is all development, and the second act is where I felt like the film started to lose me. The action is there, but for me it was unlikable. Alex begins to experience extreme changes in her persona and physical appearance, and her friends are taking the brunt of it. She deteriorates her relationships with those who have stood by her in her quest for stardom, and for no obvious reason (at the time). The second act left me thinking that I had maybe made a mistake in thinking this would be a good effort, but the third act changed all that. It is during the third act where the psychological horror becomes physical, and boy does it reach extreme levels. It is during this act that the first kill hits the screen, a whole 78 minutes into the experience. Trust me when I say this about the kill and the subsequent kills, they are worth the wait. It is not often that a third act is so good that it pretty much makes up for the rest of the film, but I believe that is the case here with Starry Eyes. The horror that erupted in this final act left me in awe, and to top it off the film’s climax includes a revelation that I did not see coming.
The directors did a fair job executing this film, with their talent showing during the awesome third act. They get things started pretty well, giving us gloomy atmosphere and proper “odd” execution of the quirky characters seen in the first act. Actress Alex Essoe gave a tremendous performance as Sarah, going from one emotional extreme to the other and delivering some of the best kills I have seen this year. If it were not for her incredible performance early on I am not sure I would have been as into the flick as I was, so she deserves a lot of credit for that. The directors definitely left their mark on the genre this year with the final act thanks to their execution of the kills. These kill sequences were brutal, shot in full-frontal fashion, drawn out to keep you squirming, and they come via live-action effects…which means you get some great gore. Hopefully these directors stick around and maintain the horror seen in this effort.
Overall, Starry Eyes is an incredible experience that I suggest to those who want to see something unique and brutal. Keep in mind that it may try your patience at first, but the payoff is well worth the wait.
Director – Jonathan Glazer
Cast – Scarlett Johansson, Jeremy McWilliams, Lynsey Taylor Mackay, Adam Pearson, Jessica Mance, Dougie McConnell, Kevin McAlinden, D. Meade, Andrew Gorman, Krystof Hádek, Scott Dymond, Michael Moreland
Release Year – 2014
Reviewed by John of the Dead
Earlier this year I learned that there would be a horror film starring Scarlett Johansson as an alien seductress who lures men to their doom. If you ask me, that sounds like a kickass grindhouse film – I was dead wrong. The more I learned about the film the more it came off as an art house masterpiece with hints of influence from Kubrick’s 2001: A Space Odyssey. Regardless, with so many cool elements involved I had to give this a watch, and was pleased at the outcome. Under the Skin is an experience that must be experienced. It’s a horror, thriller, drama, and fantasy effort that makes for one of the most unique horror films this millennium.
The storyline is as simple as the first sentence of this review. Scarlett stars as an unnamed woman who removes the clothes from an unconscious woman and then embarks on an unmentioned mission to seduce random men. That is, of course, after the film’s immense opening sequence. I really cannot tell you what happens at the beginning of the film, but it is this sequence that makes me mention 2001: A Space Odyssey when I speak of this flick. The first word is not spoken until 13 minutes into the film, and I was very surprised to learn that much of the dialogue was unscripted. To get a realistic feel, most of the men that the woman meets are non-actors who had their conversations with the woman recorded and were then offered roles in the film. This is a bold move by writer/director Jonathan Glazer that worked out in his favor in the end. So, instead of an actual screenplay the film is written more as a blueprint, with the non-actors giving “true” performances as they were unaware that they were speaking to Scarlett Johansson, who was wearing a wig and makeup.
A very long first act gives us approximately an hour of the woman seeking men, both successfully and unsuccessfully, and disposing of them. The first kill appears at the 21-minute mark, and it will leave you bewildered as to what exactly happened. Do not worry though, the next kill, at 35 minutes, explains what happens to her unsuspecting victims…and it is truly haunting. For this being such an artsy film I was quite surprised at how effective the horror was. I can’t say that this will give me nightmares, but I was definitely left in shock over what I saw. The second act slows things down as she travels a bit and begins to find herself. At times it feels like she is curious to know what life is like as a human, but she is on a mission and we are made aware that those who sent her to Earth are covertly watching her. The third act gives us the woman’s first true conflict, which is short-lived and leads to a climax you will either love or hate.
Jonathan Glazer’s direction is what sells the film, and it was unexpected given his previous efforts, which are Birth and Massive Attack videos. His provides a visceral experience with long, drawn-out sequences that play on your senses with amazing visuals and a haunting score. Scarlett is great, and the execution of her character, from looks to mannerisms, surpasses her acting. This is not because her acting is poor, but because the performance is so basic. Glazer’s direction of the kills was quite out of this world, with the uneventful ones still captivating me thanks once again to the visuals. I mentioned earlier that there is at least one haunting scene, and its effectiveness is incredible. Glazer draws these scenes out to achieve the highest amount of tension possible, leaving you to squirm in your seat, eyes glued to the screen, and in complete submission to the film. I cannot say that happens often, and I give him props for that.
Overall, Under the Skin is an experience that must be experienced. If you are looking for a film to entertain a group of friends with then this is probably not for such an occasion. However, if an incredibly unique effort is what you seek, you have found it here.
Director – Kevin Greutert
Cast – Sarah Snook, Mark Webber, Joelle Carter, David Andrews, Ana de la Reguera, Amber Stevens, Chris Ellis, Brian Hallisay, Vaughn Wilson, Larisa Oleynik
Release Year – 2014
Reviewed by John of the Dead
I personally feel that we do not see enough horror films involving voodoo/hoodoo, and seeing that Jessabelle was such a flick I was stoked to give this a watch. While not exactly similar to The Skeleton Key, aside from its location and voodoo, I was hoping for a familiar feel set in the spooky swamps of the deep south. From Saw VI and VII director Kevin and the writer behind the silly Night at the Museum films, Jessabelle is a good film but not one that I personally enjoyed very much. The horror is there, and it is good at times, but in the end this is one of those “good” films that I will not watch again.
Returning to her childhood home in Louisiana to recuperate from a horrific car accident, Jessabelle comes face to face with a long-tormented spirit that has been seeking her return – and has no intention of letting her escape. – Lionsgate
Writer Robert Ben Garant kicks things into gear right away, throwing us face-first into a terrible tragedy that claims the life of someone close to Jessabelle. On top of this, she is severely injured and must remain bound to a wheelchair during her recovery. We see the first hint of superantural terror only 10 minutes into the film, and four minutes later she finds what I thought to be the most interesting element of the story: video tapes her mother recorded for her when she was a child. Jessabelle lost her mother at a very young age, and only now did she realize that her mother left her the tapes. Before this she had only seen pictures of her, never video, so she is quite elated to finally experience her mother’s voice and personality. The videos consist of her mother using tarot cards to predict Jessabelle’s future, and her future does not look bright. Elation turns to terror when her mother’s predictions ring disturbingly true about a supernatural presence in the home that wants Jessabelle out at all costs. Nobody believes her, and she is stuck to a wheelchair, so she is not going anywhere. The first really good horror hits at the 31 minute mark, and to me it was the scariest scene the story had to offer. At the time it makes little sense, but nonetheless it was highly effective. For the majority of the film we are left to wonder whether the horror Jessabelle is experiencing is internal/psychological or supernatural/malevolent, and I am glad to say that the scarier of the two is eventually revealed as the answer. There are constant developments and revelations regarding Jessabelle’s past, which is now haunting her present day life, and I credit them with keeping things interesting when the horror subsides. For such a simple film there sure is a lot going on, and I know that seems like a contradiction but it is something that is hard to explain and must be experienced yourself. At times I felt like the story was losing me. It dragged at times and the horror, while good, was too infrequent and its effect did not last long enough until the next scare hit the screen. On top of this, I found none of the characters likable. I don’t need likable characters. I am just fine with every character dying because I hated them all, but when a film drags or the content loses your interest an enjoyable character is a remedy to keep you engaged. Thankfully, while I have said before that I would not watch this again, I do feel like it offered a really unique premise to the “horror in the swamp” scene, so props to Garant for breaking away from lame Night At The Museum movies.
Director Kevin Greutert is a big reason behind why I am giving this film a positive rating despite some writing faults. A swamp setting provides awesome atmosphere for a horror film, and while this was filmed in North Carolina (set in Louisiana) the sets and locations were employed well. I loved the spooky old home Jessabelle was forced to reside in during her recuperation, and Greutert’s dark and gloomy cinematography made the simplest of scares more effective than they should have been. There are some scares, though, that will be remembered as some of the best I have seen in 2014. The first and last attack sequences are amazing. From the shaky-cam, to the extreme audio, to the utmost in live-action gore, these scares are incredible and make the film worth viewing at least once. Trust me, if you watch the film wearing over the ear headphones like I did you will jump in your seat. Guaranteed.
Overall, Jessabelle is a film that gets things right and wrong yet still delivers a solid experience in the end. The horror is there, and while the supreme scares are infrequent they are superbly executed and will leave a memorable impression. Like I said, this is worth at least one watch.
Director – Onur Tukel
Cast – Jonathan Caouette, Zach Clark, Dustin Guy Defa, Juliette Fairley, Dakota Goldhor
Release Year – 2014
Reviewed by John of the Dead
I only found out about this film until recently, and what gave me the drive to watch it is it was referred to as a “hipster horror film”. I don’t count because that would be mainstream, but I know I have plenty of “hipster” friends who would get a kick out of such a film, so I gave this a watch and left pleased with the results. The story follows Eric Sparrow – a self-centered asshole who sucks in bed and makes the mistake of his life when he turns down his beautiful girlfriend Jody’s marriage proposal. He tries to move on without her…and to no avail. Each date ends worse than the one before, his job becomes more and more unbearable, and to make matters worse…Jody is now dating her college crush. Eric’s life is falling apart, but he receives the chance of a lifetime when he is bit by a vampire. Eric awakes as a different man. He is confident, strong, and now a sexual maestro with the opposite sex. There is only one problem – he is a vampire, and vampires need to eat.
Writer/director Onur Tukel stars as Eric and delivers one hell of an opening sequence. The story begins with Eric and Jody having an exquisite dinner at their favorite restaurant. When Jody proposes Eric uses his bafoonish wit to say “no” with the highest number of words possible, turning the issue to himself and the fallacies of married life. This intro lasts almost 8 minutes and will leave you shaking your head over how much of an idiot he is. I am sure lots of us, both male and female, have been in situations where we let a good person go for stupid, selfish reasons, and this intro did a good job of reminding me of the hurt I felt. Tukel’s writing is fantastic, with excellent dialogue from Eric that shows how arrogance and a “hipster” way of looking at things can cost you. Of course, this is done so in hilarious fashion. The head-shaking continues as you watch Eric fail at everything that matters. He has a pathetic way of using his logic to rationalize the life he lives, and before he can realize how much he is bullshitting himself…he becomes a vampire.
The second act is where Eric begins to bring home his new life. He is epically fired from his job, gives no f*cks about the rent he owes, and unlike before, he is having lots of success with women. So is this even a horror film? Yes it is. The first kill occurs 39 minutes in, and it is gory as hell. The kills continue at a brisk pace for the next 10 minutes or so, with kills coming from many angles, including while engaged in coitus with a beautiful woman. Conflict eventually arises, and while it is tame in comparison to the rest of the film it still managed to keep me engaged. At times I felt like despite its mere 86 minutes in length that the film dragged here and there. Eric’s long responses/monologues about this or that hipster case-in-point eventually exceed their welcome, yet he somehow manages to remain a guy that you’d love to hang out with – at least in small doses. I would not exactly call this a horror comedy, but it does have its comedic elements. Thankfully they blend well with the horror and the carnage does not take a backseat to the lulz.
Tukel’s direction is fantastic, and he secures a great performance from…himself as Eric. Tukel’s acting (if he’s even acting) dominates the character-driven experience and as I mentioned earlier, it’s hard not to love the guy. He’s a dick, and he’ll piss you off, but I’d love to hang out with him just so I could laugh at his troubles. Despite some dragging moments his execution, via atmosphere, music, and laughs, is enough to keep you engaged and into what is going on before you. Most importantly, though, his execution of the horror is fantastic. I was surprised at the level of gore seen in the film, and it all comes via live-action effects and not that lamestream CGI nonsense. His execution is full-frontal and with the kills drawn-out to gory extremes you will leave pleased at experiencing more horror than you expected for a “hipster” horror flick.
Overall, Summer of Blood is a fun watch and one that I recommend to all, even if you’re not a hipster.
Director – Peter Jackson
Cast – Michael J. Fox, Trini Alvarado, Peter Dobson, John Astin, Jeffrey Combs, Dee Wallace, Jake Busey, Chi McBride, Jim Fyfe, Troy Evans, Julianna McCarthy, R. Lee Ermey, Elizabeth Hawthorne
Release Year – 1996
Reviewed by John of the Dead
Horror consumes my life, but even then I have not seen every major horror film there is. The Frighteners is the most recent notable effort to be remove from such a list, and it was as good as I expected it to be. Michael J. Fox stars as Frank Bannister, a man who attained a unique ability to speak to the dead after the sudden death of his wife. Frank does not use his abilities lightly though, and has since become a con man who employs spirits to haunt unsuspecting / potential “customers” and leave them no choice but to call him to remove the “evil” presence. However, when a real demonic spirit invades the town and starts killing at will, Frank becomes the only hope in saving the living from the dead.
The story kicks off right away and gives you the impression that this is going to be a really scary movie, then you realize you are being fooled just like Frank’s “haunted” customers. It is then that you realize this flick is going to be more “fun” than scary, which I expected because over the years I never heard this film referred to as scary. The first act is highly comedic, with fun characters and consistent jokes for you to enjoy. These jokes come from both Frank Bannister as well as his restless undead companions, each with their own unique personality. Nearly all of the main characters was colorful in their own right, with FBI Special Agent Milton Dammers taking the cake as the most outlandish. He was written superbly awesome, in the weirdest of ways, and left me laughing in my seat on several occassions. During the second act the kills begin to hit the screen, with a Grim Reaper-esque being delivering death via squeezing the life out of his victim’s heart. Frank’s unique abilities allow him to see, in sequential order, who the demon’s next victim will be, but only moments before they are to be taken from this world. This gives him little time to save the person’s life, or even convince them that they are in danger, which of course increases the conflict and tension. A fair amount of kills are written into the film and paced at just the right times, but don’t expect much when it comes to gore. There is ONE kill that will leave gorehounds happy, which was added when the filmmakers realized they were going to be tagged with an R-rating with or without the kill. When the third act hits we are provided a unique development where Frank goes through a drastic measure to make himself closer to the demon. This was done because he was powerless beforehand, but now he can fight. Jackson and his longtime co-writer Fran Walsh include constant developments over what is going on behind the killings, and while not overly shocking I did find the revelations towards the end of the film enjoyable.
Jackson’s direction is as good as his writing, although if you are expecting this to be like his previous horror flicks, Bad Taste and Dead Alive, you are in for a rude surprise. He sets the fun tone early on with great performances from Michael J. Fox and his ghastly companions, however horror legend Jeffrey Combes steals the show as Milton Dammers. It was incredible to see Combes deliver such an odd yet wonderfully executed performance unlike any you have seen in his filmography. Several other notables provide supporting roles, like R. Lee Ermy, Jake Busey, and another horror legend – Dee Wallace. Jackson’s horror was good, and while not scary it definitely kept me entertained. I enjoyed the look of the antagonist and the kill sequences, while tame on the surface (heart attack via a squeezed heart) were executed in strong fashion. Sadly, the antagonist and everything that has to do with him comes via CGI effects, which naturally lessens the severity. The CGI was not terrible, but it was not good either. With Jurassic Park debuting a few years earlier it is obvious that good technology was out there, but it was not in The Frighteners. Thankfully, there is so much more going on in the film that you learn to forgive it for the CGI blasphemy. Just look at Peter Jackson’s works since then, his Hobbit trilogies are nothing without computer-generated imagery.
Overall, The Frighteners is a great 90s film that provides a fun story with great execution from one of the genre’s masters who has sadly refrained from returning. You won’t find many scares here, but this is a flick that you can enjoy with a group of friends.
Director – Victor Garcia
Cast – Peter Facinelli, Sophia Myles, Nathalia Ramos, Carolina Guerra, Sebastian Martinez, Gustavo Angarita, Juan Pablo Gamboa
Release Year – 2014
Reviewed by John of the Dead
Don’t you just love stories where unsuspecting know-it-alls believe they are doing a good deed, only to find out that their deed proves to be the worst possible decision they could have made? I love those stories, and that is the case with The Damned. When a group of family and friends barely survive a flash flood, they beg for refuge in a secluded inn. They find a young girl locked in the basement, and without pause they let her free…unknowingly releasing an ancient spirit that will consume them all.
The screenplay comes written by Thirteen Ghosts writer Richard D’Ovidio, and shares a story credit with David Higgins (Burning Bright). The events come rolling in pretty quick, with the traveling band of naïve individuals ignoring the pleas of a local police officer and suffering a dangerous crash when their vehicle is swept away by the tremendous rainwater. They wind up at the hotel pretty early, and right from the get-go we are informed that there is something very “off” about the place. There have been no guests in 30 years, the phone lines have been cut, and it is obvious the caretaker, Felipe, is not keen to strangers and does not want them snooping around. Sure enough, they snoop around and let the girl out at the 28 minute mark, sealing their fate. From then on out the horror creeps and eventually develops into a possession film with nowhere to run but plenty of space to die. The writers include an interesting element for the possession, where the only way you can become possessed is if you kill the possessed person. Naturally, one would say “well don’t kill the person”, however the person is still trying to kill you, or someone you love, so in a sense there are situations where you have no choice but to make the kill and leave yourself as the possessed individual. I did not necessarily enjoy this method, as I prefer more typical methods of possession (they’re creepier), but I’ll give credit for being different.
So how is the horror? It’s OK. It’s a possession film, which is cool, but as I mentioned earlier the possession scenes aren’t as creepy as standard possession tactics. Those possessed talk in cheesy demonic voices and eventually develop a decayed look, but it appears that only happens when they get angry, which is silly. We are provided plenty of kills, but sadly some of them occur offscreen and are nowhere near as gory as one would expect for such a film in the possession / Spanish sub-genres – both known for good gore.
Mirrors 2 and Hellraiser: Revelations director Victor Garcia directs this piece, and he a fair job. The atmosphere is great and he sets the tone early with gloomy cinematography (exposure, desaturation) and solid sets for the home and underground prison. When the horror gets going I felt his execution should have been better. The voices were too cheesy (not the good kind) and the look of the possessed was not the least bit scary, or cool. His kill sequences were pretty tame as well, with little gore and seldom were they filmed in a frontal fashion. There was much potential for good horror here, but it failed to surface.
Overall, The Damned is another mediocre flick out there that you should pass over for better efforts.