











your happy childhood ends here!

INSIDIOUS: OUT OF THE FURTHER. The game-changing INSIDIOUS franchise is admittedly long in the tooth but that tooth is still capable of some legitimate bite. The series delivered a perfectly suitable closure for itself with its full circle-previous entry (the Patrick Wilson helmed INSIDIOUS THE LAST DOOR) but when has that ever deterred a financially successful horror property. We get off to a rocky start with a ghostly too familiar childhood trauma backstory but you can bet your Ouija board that the chains get rattling as soon as lovable horror legend Lin Shay shows up as deceased yet ever helpful medium Elise. Most supernatural horror flicks that promise global catastrophe sadly lack the level of commitment (and budget) to fully deliver on the promise (I love you HELLRAISER III: HELL ON EARTH, but it’s true) but OUT OF THE FURTHER does a pretty decent job of illustrating the serious drop in quality of life in the event that a slew of ornery spirits took over your hood. Writer/Director David Chase (2020’s COME PLAY) does a fine job keeping viewers on their toes and offering a few unexpected twists and I personally couldn’t help but enjoy the plethora of throwbacks to the OG POLTERGEIST trilogy.

DOLLY (2025) Back in college, I’ll never forget reading the pulpy paperback BIG GURL by Thom Metzger and I’ve have had an impossible time trying to track it down again. All’s good though cuz Rod Blackhurst’s equally insane nosedive into absurdist grind house horror DOLLY does a fine job scratching the same colossal psycho-lady itch. The aesthetic of this backyard human barbecue is pure gritty, grimy blanched-out Tobe Hooper territory (there’s even a sign pointing toward the HOOPER mines) and God bless whoever on the production team provided my Achilles heal, a busload of creepy vintage dolls. This violent, teeth clenching, wrong turn, backwoods horror show has a few familiar ‘90s faces (Seann William Scott, Ethan Suplee and sports a menacing performance by wrestler Max The Impaler (not familiar with her work but good on her). Any movie that can rekindle memories of the first time I saw the ever twisted TOURIST TRAP (’79) gets a severed thumbs up from me.

BIG BABY Rob Zombie’s bro Spider One delivers on an unsettling atmosphere and an objectively alarming masked killer but its meta art vs actuality dilemma has been done better before (see I, MADMAN ('89) or WES CRAVEN’S NEW NIGHTMARE ('94)). Brandon Scott plays Adam Lewis, a once successful screenwriter dealing with writer’s block and maybe not the world’s most supportive girlfriend Kate (Krsy Fox). His creative problems appear temporarily solved thanks to inspiring nightmares but soon reality gets fuzzy and he’s not sure if the horrors he witnesses are in his mind or actually happening. The actors do a fine enough job but there’s only so much you can do with characters who are if not unlikable, are at least annoying (Lewis takes himself way too seriously while his gal is frequently clowning). The good news is that there are cameos by David Thornton Green (Art the clown) and Chaz Bono (who I remember being very jealous of as a child due to all the fawning attention Chaz got on the SONNY & CHER SHOW. My parents wouldn’t even buy me Legos (too messy), much less show me off on television). Ultimately, I gotta throw this BIG BABY out with the bathwater but at least the next time a certain acquaintance accuses me of “liking everything” when it comes to horror, I have ample evidence to the contrary.
THE END OF OAK STREET is a mostly fun, mostly family-friendly (not sure about that Dino sex scene) suburban ‘80s adventure that gives reverse LAND OF THE LOST meets JUMANJI in a funky, Dantesque (as in Joe. not Inferno) AMBLIN sandbox. It’s funny at times, exciting at times and confusing at times but has two game leads in Anne Hathaway & Ewen Mcgregor as parents in over their heads (really, I’ve never seen a poorer job on screen of folks attempting to board up their windows) when their neighborhood is inexplicably invaded by a multitude of prehistoric beasts. Director David Robert Mitchel (IT FOLLOWS) keeps a great pace and knows how to set up a thrilling set piece but the films juggling of alternate timelines (especially during the climax) can feel like a bit of a cowardly cheat. This address is unquestionably worth a visit but I’m sorta over dinosaurs at this point and kinda wish they got a little more creative and showed us some beasties we’ve never seen before.
PINOCCHIO UNSTRUNG. I’ve resisted all the recent public domain POOH-verse re-imaginings of favorite childhood tales and characters (probably cuz Winnie The Pooh was my favorite book as a child and I feel protective of his reputation). A deadly psycho PINOCCHIO is impossible for me to resist though, on account of that seal was broken long ago with my personal favorite 1996 direct to video Chucky come lately known as PINOCCHIO’S REVENGE directed by the great Kevin S’ Tenney (WITCHBOARD, NIGHT OF THE DEMONS Et al.). Anyway, I’m really shocked to tell you that UNSTRUNG found a fan in me. I absolutely loved all the beautiful practical effects and puppetry and although it’s laugh out loud hilarious at times there’s also a very convincing layer of potent creepiness. What’s particularly amusing is that this deadly doll is actually a real sweetheart who doesn’t know right from wrong and he sort of comes off as a Casper-like character who might just unwittingly decapitate you at a moments notice. Making my robust approval even less questionable is the involvement of King Robert England who loans his voice talent to the character of Cricket. Please note that my nose doesn’t grow as I vow to watch it again.
DEATHSTALKER (2025). How did I not know that someone made a reboot/reimagining of my favorite ‘80s horror adjacent sword and sorcery series DEATHSTALKER? What great news! Finer still is the fact that it is crafted by Steven Kostanski, he who gifted the world with PSYCHO GORMAN (2020), THE VOID (2016) and the criminally underrated LEPRECHAUN RETURNS(2018)! If you like action, humor, gore and crazy monsters then congratulations, you just won the lottery. Strangely adorable, batshit crazy and just plain fun, this newfangled DEATHSTALKER is a pure, much appreciated meteor of joy.
SCARED SHITLESS. Is anyone up for a 2024 horror comedy concerning a young germaphobe who teams up with his plumber father to face his fears and ends up battling a TREMORS-light worm monster that travels by toilet? I know it sounds juvenile, but Vivieno Caldinelli’s throwback budget creature feature has slick visuals, explosive gore, great music, a heart of gold and a cast with spot-on comic timing. If you dig SHIVERS ('75), THE DEADLY SPAWN (’83), THE KINDRED (87), SLITHER (2006) or anything by Frank (BRAIN DAMAGE, BASKETCASE) Henenlotter this is a must-see swift and slimy knee slapper.
BUDDY. Back in the mid nineties yours truly wrote a screenplay about an Barney-esque program and its costumed anthropomorphic killer. It even had legit producers and a experienced director attached (meaning they’d made a movie before which will remain nameless). Of course, after about a year of me fantasizing about my future success everything fell through and I was thrown back to the gutter (retail job) nursing my wounds. I only tell you this to explain that it took a little bit of effort for me to watch BUDDY objectively and not through the lens of a bitter curmudgeon with escalating mental issues. What helped was finding out BUDDY was directed by the same guy (Casper Kelly) who delivered the hilarious mind-bending trip-o-thon TOO MANY COOKS which I worship as the finest of art. I can’t think of a better fit. BUDDY is not quite the potential masterpiece that I had fully formed in my head (what could be) but it’s wonderfully surreal and silly and delivers on the gore and twisted humor. It’s not like anything you’ve ever seen before and strikingly familiar at the same time. Poor me, I’m incapable of hating on a film that features Clint Howard AND a talking mailbox (sadly, his jaw is removed midway and he’s rendered mute which made me anxiously await his repair which never happened). It probably would have fared better with a slightly shorter runtime (there is some notable wheel spinning for a spell) but it’s destined for legendary group viewings and devout cult status anyway. Just think about the potential merchandising! I know I have (sob).
THE ICE CREAM MAN. I never bought into the Eli Roth hype but I thoroughly (and I guess solely) enjoyed his last movie THANKSGIVING. I suppose that holiday slasher was merely a foolproof fluke like I secretly suspected. I didn’t image this killer kid flick was going to be as outstanding as 2014’s COOTIES but I’m a little shocked to see it so viciously mogged by the likes of 1980’s THE CHILDREN and 1989’s BAWARE! CHILDREN AT PLAY. I suggest you watch 1989’s serviceable and unrelated (and Clint Howard starring) THE ICE CREAM MAN instead; your eyeballs will thank you.
TEENAGE SEX AND DEATH AT CAMP MIASMA. God bless writer/director Jane Schoenbrun (I SAW THE TV GLOW). Who else would or could deliver a cinematic exploration of sexual identity and gender dysphoria that also serves as a heartfelt love letter to the slasher genre and cinema in general? Seems like an odd concoction 'till you’re reminded of PSYCHO, SLEEPAWAY CAMP and THE SILENCE OF THE LAMBS (allow me to throw in PIN (’88) and FEAR NO EVIL (’81) as well ). They even assembled the dream cast of Gillian Anderson (THE X-FILES) and HACKS’ Hannah Einbinder (in a smaller role, we even get SNL’S Sarah Sherman who I was lucky enough to see perform live recently and who is an unabashed horror and gore fan. Her stage show makes PEE WEE”S PLAYHOUSE look like ROMPER ROOM). Einbinder portrays a queer director named Kris who is taxed with rebooting the long running slasher series “Camp Miasma” (the phony DVD props all mirror FRIDAY THE 13th discs and they are really awesome if you are as nerdy as myself). Research and brainstorming lead her to track down the first film’s lead Billy Presley (Anderson) who just happens to be shacked up in the abandoned lakeside camp where the first flick was shot. Wouldn’t you know it, just as creator and muse begin to tentatively canoodle, the franchise’s disgruntled, maybe not so fictional signature killer “Little Death” (who wears an air vent box on his head) shows up with his weapon of choice, a spear. Although much more accessible than Shoenbrun’s previous works, MIASMA is equally poetic, artful and fascinating. There’s plenty of s’mores at this camp to engage any horror fan but slasher aficionados will leave especially well fed.


I’d been on the waiting list at my local library for Hayden Panettiere’s memoir “This is Me” for what felt like the entire summer. Finally, I got the email notice saying my hold was ready for pick up and I happily spent last weekend devouring the book. I was rather taken aback by how relatable Hayden seemed. She cared very deeply for animals, understood the obvious magic power of trees, had a soft spot for dissociation via questionable substances, and had a less than ideal upbringing thanks to wonky (to put it kindly) parenting. Her life was filled with just as many swampy pitfalls as zeniths but she seemed to have figured out a way to balance her internal steering mechanism and she appeared to look forward to leaving her past behind while optimistically marching toward the endless potential of her future. Then about three hours after I finished her book, while feeling all kinds of inspired myself, the perpetual buzz-kill internet informed me that sparkly, super-talented, kind-spirited Hayden had died. Surreal. This might sound ironic coming from a devout horror fan, but if there’s one thing I can’t get a grip on it’s this mortality business. It pisses me off. Also, I’m really tired of death showing up right when someone has seemingly made peace with their demons and is forging a healthier path. I’ve witnessed this happen to a couple friends and it’s nothing less than infuriating.

Hayden was a tad (cough) younger than me so I didn’t exactly grow up alongside her the way those in her own generation did. She first appeared on my radar during that excellent first season of HEROES and I basically perceived her much like her onscreen character and just assumed she was a pretty all American cheerleader type (little did I know she was already at this point a commercial & soap opera veteran, experienced voice artist and an accomplished singer). The ground zero for my nuclear level respect and affection for her was of course her portrayal of Kirby Reed in SCREAM 4 (2011). Kirby was anything but your garden variety slasher teen. She was a sly, whip smart, Tomboy-type who took zero flack and seemed to command every space she occupied. She didn’t act like an annoying know-it-all even though one might reasonably suspect that she secretly did. Hayden’s talent was such that she brought Kirby fully to life as a distinct entity that could not be confused with any of her previous performances (I should also mention she leaves a similarly strong impression in the video game UNTIL DAWN). According to her her book, Hayden had secured a no-kill contract for SCREAM 4, meaning Kirby’s demise was always meant to be questionable and ambiguous. She was in fact, slated to return in part 5 provided 4 was a financial success. Unfortunately, SCREAM 4’s under-performance scrapped such plans and it seemed the beloved character would be left behind after all. Instead, Kirby’s legend and popularity only grew stronger over the years and after taking a break from the franchise’s fifth installment (besides a fan baiting Easter egg), she made a triumphant and well received return in part 6. Who knows where this extraordinary character could have gone next (I was dreaming of a spin off TV series entitled THE KIRBY REED FILES).

Naturally, like many, I’m absolutely broken hearted and I know I’m supposed to send my condolences to her friends and family but that’s not going to happen because they needed to do sooo much better than they did. Screw her dad for normalizing domestic abuse in their home and to hell with her mother for exploiting (and being so clearly jealous of) her own much more talented child. While I’m at it, allow me to shade her disloyal ex-fiance (what’s the point of being a six foot six ex-boxer if you fail to beat the crap out of your daughter’s mother’s bully?) and may her on-again, off-again sub-mental clod of an abusive “boyfriend” be shoved on a catapult and hurled toward the sun. Furthermore, allow me to curse all who work for Nuetrogena (the company that threw H under the bus for speaking about postpartum depression) to be struck by acne, diarrhea and lightning (in that order). Sadly, considering their track records, I doubt many of the miscreants mentioned will suffer even a moment of self reflection. Not to be over dramatic, but I can’t help thinking this tragedy epitomizes everything wrong in the world today with one generation grossly failing to protect its offspring and the most vile amongst us never having to take accountability for their actions. As always, the brightest lights attract the most monstrous of insects and the purely empathetic are magnets to the grimiest malignant narcissists. Am I being too harsh? I know there’s several stages of grief but I’ve set up camp in the anger stage and am not going to budge for a while. Rest in Peace Hayden, and Happy Birthday. My only solace is that you’re safe from any future pain. You will always be a true hero (especially to horror fans and appreciative marine life) and you certainly didn’t deserve to be surrounded by so many mask-wearing villains both on and off screen.


Widow’s Bay is by far my favorite show of 2026. Patricia (played expertly by Kate O’Flynn) is the standout of the series. Patricia is a wonderfully awkward badass!
From middle-aged mean girls to the Boogie Man, she handles it all in season one. Speaking of those middle-aged mean girls, they appear prominently in two Patriciacentric episodes from this season. Episode four “Beach Reads” illustrates what happens to Patricia when she tries too hard to impress the “mean girls” from her high school years. A “helpful” party planning guide appears, and she begins following the instructions for her “Sunset cocktails” party. Before the arrival of this book, Patricia is humiliated at a get-together at a former classmate’s house. It is in this moment the audience gets to know why she has become an object of ridicule by this group of “ladies.” The events of “Sunset cocktails” are seen initially through Patricia’s eyes, but as the party progresses, the audience sees that things are not quite as they appear to our hostess. It’s Carrie (1976) meets The Wicker Man (1974).

Episode eight “Your Baggage” finds Patricia faced with the literal Boogie Man from her youth. Throughout the season, she alludes to her experience as a teen being stalked and almost killed by the Boogie Man—those middle-aged mean girls dispute her story and use it as an excuse to treat her as an object of ridicule. When the long-thought-dead Boogie Man appears at her home, an awesome game of cat and mouse begins that at one point ends up at the home of the main mean girl (she gets some taser gun comeuppance…ZAP!). Patricia ends up being the queen final girl. No slasher movie would have subsequent sequels if Patricia was the final girl because she’d make damn sure the slasher villain was not just dead but REALLY dead! It’s Halloween (1978) and Friday the 13th Part II (1981) villains meet a final girl who doesn’t make dumb mistakes.
Guys, if you don’t subscribe to Apple TV, it is worth a trial subscription just to binge-watch this fantastic horror comedy series. Perhaps you will also appreciate Patricia, aka Queen of the Final Girls!


Spoiler Alert. Please don’t read any further if you have not seen EVIL DEAD BURN. Go on, scram. Get stepping. Vamoose. O.K. All clear?Um, I was under the impression that we as a society had decided that we were not going to kill dogs in movies? Did I just imagine that? Are we not all on the same page? I mean, I realize all bets are off in a horror film but didn’t we all have some sort of unsaid agreement on this matter? Intellectually, I know it’s not real, but it still bums me out and throws a wrench in the re-watch factor. Luckily, I was indeed warned of the canine death in EVIL DEAD BURN and so was able to properly prepare myself, but I’m still not a fan & did it have to be so aggressive and with a fork? I will say that the pooch in question, “Max” does come back as a possessed puppy for a spell and that is a comfort but it’s of the cold variety on account of he has to be killed once again! I guess I’ll just choose to be happy that it wasn’t a cat…or a squirrel…or a baby raccoon (like the one in my yard the other night!). Anyway, this movie makes a lot of questionable choices storywise and left me partially confused on a few fronts. Suffice to say even though I’ve seen every EVIL DEAD film multiple times, I may be rusty on the rules and regulations. I’ll just go with it and assume anything can happen and the guardrails are fluid. In any case, this here move is dark, grim, and merciless. There’s usually a space right before the final confrontation in a movie when yours truly can run off to the rest room but not so here! No space! I had to wait! Plus, there’s two after credits scenes so I had to wait extra long! While listening to French rap Music!

Poor Alice (Souheila Yacoub) has just lost her abusive husband William (George Pullar) due to his raging out at her and then driving drunk smack into a deadite remnant of EVIL DEAD RISE and burning in the wreckage. As far as deadly accidents go, it’s rather fortuitous as the scary possessed deadite he runs into (and inadvertently decapitates) was in the midst of hunting down Will’s family on account of their deceased grampy was hoarding the powerful Kandarian dagger which is basically deadite kryptonite. After an extremely awkward funeral service in which Will’s burnt corpse covertly infects his grieving father Edgar (menacing Erroll Shand), the depressed group returns to the family homestead to console themselves with unappetizing food. Besides Alice and Pa, there’s mopey momma Susan (Tandi Wright: AKA, Yikes, the mom from PEARL (2022)), grumpy grammy Polly (Maude Davey), Will’s beyond feckless brother Joseph (Hunter Doohan) and his ill-fated girlfriend Thya (Luciane Buchanan). The festivities are as healing as you’d expect for a clan whose home decor is clearly inspired by RESIDENT EVIL 7: BIOHAZARD (actually, the joint is a carryover from ASH VS. EVIL DEAD but either way, it's begging for a paint job). As said, dad is not quite himself and after losing any chance of being hired as a dog sitter by me, folks are falling like flies in the grizzliest ways imaginable.

I’m not exactly on board with the structure of the story or the semi-cluttered nature of it, but EDB certainly gets its themes of family dysfunction, abuse and entrapment across very clearly. What the film really has going for it is its eye-popping (or gouging) set pieces (including an impressive rooftop scramble) and super creative (Raimi would be proud) use of the camera. There are moments in which I was wishing I was crossed-eyed as it might be the only way I could catch everything that was occurring on screen. Obviously, much here is inspired by the previous installments but director Sebastien Vanicek (2023’s INFESTED) clearly brings his own extreme (and notably French) vision to the table, brutal and brunt though it may be. The CG laden, TERMINATOR-esque conclusion is a bit bombastic for sure but it’s hard not get behind the flick’s final heroine when she finally gets the opportunity to face her own complicity in her abusive relationship and confront and dispose of her abuser, albeit posthumously. In the end, I almost felt it was a better companion piece tho LEE CRONIN’S THE MUMMY than RISE but that’s what it gets for being so darn mean spirited and featuring a crazed granny as its near lone source of comic relief. Oh, that poor dog Max, what a way to go. If only he died attempting to save the family rather than in the midst of trusting his caretaker. Broke my little heart.


Hello,
This is a movie I saw in Cuba when I was around 7-8 years old. The title they gave it there was “The Dangerous Blonde”, so it was very hard for me to find it once here in US.
The title is “Death Smiles on the murderer”. The death mask haunted me for many years. The whole atmosphere is tenebrous and funereal. The actress looks “not completely alive” (although not a zombie either) when she is in her normal condition making her appearance very ominous in any form.
Thank you,
Wendy
