RAW REVIEWS: AT GRANNY'S HOUSE

In an entirely unsurprising revelation, I'm a big fan of Hitchcock. This may be the film equivalent of saying: 'I quite enjoy pizza' or: 'I prefer sunny days to cold, damp ones', but it's a point worth reiterating. I'd argue that Hitchcock is quite possibly the greatest filmmaker of all time and even today, 35 years after his death, his influence can be seen in the movie industry.
One director who has openly professed his love of Hitch's work is Les Mahoney, the man behind At Granny's House. So is the great man's work reflected in Mahoney's? Read on...

PS Bill Oberst Jr is in this flick. Yes, THAT Bill Oberst Jr, the man that would easily be the first inductee in the Hickey's House of Horrors' Hall of Fame, should such a thing exist. Is this another hit?

AT GRANNY'S HOUSE (2015)

Dir: Les Mahoney
Starring: Glenda Morgan Brown, Rachel Alig, Les Mahoney, Laura Lee, Bill Oberst Jr.

SPEEDY SYNOPSIS: I'll try not to spoil too much here but continue at your own risk.

Elderly Marion Rogers (Glenda Morgan Brown) has recently experienced ill health and, following her husband's death, her impatient and loutish son decides to hire some live-in home-help so he can wash his hands of her. Eventually he settles on hiring the attractive but definitely rather creepy Rebecca (Alig).
At first Marion is mistrusting of the new guest in her home, but eventually the two warm to one another and Rebecca takes over the spacious cellar. In time Rebecca comes up with an idea to fully utilise the large and mostly empty house in which the two ladies are living — offering up the spare room via a website to people travelling through the small Midwest town. Marion is initially a little reluctant but, encouraged by her youthful and charming new friend, finally agrees and looks forward to meeting some interesting characters.
When the travellers start to arrive they prove a mixed lot, some are pleasant enough but others prove to be little more than rude, unpleasant ingrates. Rebecca is not the most stable of people and, when provoked, flies into a murderous rage to exact revenge on those who have offended her. Things continue in this way until the pair find their lives turned upside down when a couple, Linda (Lee) and Ted (Mahoney) arrive at the house. 
Instantly drawn to Ted, Rebecca sets about seducing the object of her affection... but there's an obstacle in the lovers' way and she talks Ted into helping her clear their path to happiness together.
But the new dynamic causes serious problems in the house. Marion feels pushed to one side by the presence of the boorish Ted who treats the house like his own. 
How will these tensions play out? How long can Rebecca's lethal games continue when tough and intelligent private detective Boarstag (Oberst) starts sniffing around? And just whose side is the dangerously deranged femme fatale really on?

THE BEST BITS (mild spoiler warning): More thriller than horror movie, At Granny's House has plenty of positives going for it. Not least among these is the compelling story (written by director and star Mahoney) which is actually driven by interesting and complex characters. The storyline is decidedly Hitchcockian, boasting some tense and shockingly nasty moments, yet also offering a blacker than black vein of humour throughout. The plot has some cool twists and turns that certainly keep the audience's attention, but it is the fascinating central triangle (plus a couple of cool side characters) that really grip the viewer.
First let's talk about Alig's Rebecca. She's a wonderful cinematic creation, a black widow, sensuous and attractive (which is certainly not hindered by Alig's stunning looks) but also deeply unsettling and very creepy. She's certainly the most interesting character in the film and a lot of the plot's mystery comes from how this unpredictable force will react to the events around her.

However, this is far from a one-woman show. The classy Glenda Morgan Brown is a superb actress and offers a wonderfully nuanced performance. Her character takes quite the journey and delivers her fair share of standout moments. In fact, perhaps the only fault I could find is that she looks too youthful to require a live-in carer, but she utterly owns her role and is entirely believable. Bravo, ma'am.

The final part of the deadly triangle at the film's core is Mahoney. He's written a tight script, but can he deliver in front of the camera? The answer is a resounding yes. Channeling Josh Brolin at times, he makes for an exceptional leading man. At times unwitting victim at others cold and merciless sociopath, he is fascinating (if never even remotely sympathetic). His is a deplorable character and fits perfectly within the Hitchcockian structure of the story. He delivers his lines with aplomb and never lets the talented side around him down. This is excellent work.

However, the leads aren't the only ones to impress. Lee makes the most of her screentime as the maligned Mrs Steiner while the always fantastic Bill Oberst Jr shows his tough, heroic side as the hard-nosed detective. Boarstag's name is an anagram of Arbogast, the name of the PI in Hitchcock's Psycho, and the latter's influence is all too apparent. It was a joy to see Oberst in a badass role minus the usual psychosis that plays a part in his other toughguys. Scratched record time: 'Another hit, sir!'

So there's a good story and a superb cast, but how does the movie look? For the most part, it is pretty great. There are some wonderful camera angles deployed and the limited locations (the vast majority of the film takes place in an around the titular Granny's House) are used in such a way as to never feel samey or repetitive. Instead Mahoney cleverly uses this tight set to reinforce a sense of claustrophobia, especially when the home becomes even more crowded due to Ted's arrival.

That isn't to say that Mahoney's work is without flare — there is a jaw-dropping murder montage that shows plenty of pizzazz too. 

This touches on a key point — yes, At Granny's House is undoubtedly more thriller than horror flick, but much like classics such as The Birds, Frenzy and the aforementioned Psycho, this has some very strong horror elements. The murder scenes can be decidedly bloody, while the nightmarish conclusion brings Takashi Miike's shocking Audition (albeit somewhat toned down) to mind and is sure to linger in the mind long after the movie's end credits roll.

THE WORST BITS (mild spoiler warning): Despite my comments regarding the horror moments, if you are picking up At Granny's House for an out-and-out fright fest, you could be disappointed.

This is something of a throwback, a more cerebral offering than the regular, visceral slasher-splatter genre offerings. It takes its time to tell a story and while we do get some flesh and blood on display, that certainly isn't the point of this flick. Gorehounds would do well to seek their grue fix elsewhere.
As is so often the case with the titles I review here at Hickey's House of Horrors, this is a comparatively low budgeted indie flick. Unlike a lot of genre flicks that suffer when they attempt to overreach beyond their humble means, At Granny's House manages to keep itself grounded and never falls short. However, as fine an example of a low-budgeter as it is, it is still a little less-polished than the high-budget, big studio offerings you're likely to catch at your local cinema. If you're used to the gloss of Michael Bay blockbusters, lower your expectations and accept the lower production values on display here. Look past the surface, you'll be doing yourself an injustice if you don't.
Finally, I had a small problem with the story — in particular, the wraparound story. The film opens with a flash forward, then reveals exactly how the characters in question reached that point. I can sort of understand the reasoning, it opens the movie with a jolt that will then carry the audience through the quieter, slower-paced opening scenes until the shit hits the fan.
However, much as a similar story-telling device did with Matthew A. Brown's Julia, I can't help but feel that it robs the tale of a little of its punch, essentially revealing a shocking finale that could maybe have hit a little harder without the foreshadowing. Of course, this is very much a matter of personal preference, I can think of very few films in which spoiling the climax at the beginning boosted my enjoyment, and it certainly is not a deal-breaker. The ending still hits the spot, I just can't help but wonder whether it could have added tension to some other scenes and cranked up the shock finale if that opening sequence had been altered or axed all together.

THE VERDICT: I'll cut straight to the chase —I had a blast with At Granny's House! Mahoney and his team are clearly skilled filmmakers and, while this doesn't hit the heady heights of Hitchcock's masterpieces (but then again, what does?), as an homage to the work of the greatest thriller director of all time it is admirable. However, it is also so much more than that — it's a fabulous thriller in its own right. With a clever script, some fantastic camerawork and a top-notch cast, At Granny's House is a hit. Check it out.

For news on how you can do this, head over to the film's Facebook page here. Give it a Like while you're there too, these guys deserve it!

If you haven’t already, do please check out and Like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House@HickeysHorrors

Until next time, I hope you enjoyed your stay.

RAW REVIEW: VALLEY OF THE SASQUATCH

I recently had the pleasure to watch and review Eduardo Sánchez's Bigfoot movie, Exists. I enjoyed it quite a lot, but one of the things I wrote about the Sasquatch sub-genre was 'Much like the large-footed, furry chap himself, good films about Bigfoot are very rare.'
This is a painful truth, but I'm always looking for one of those scarce examples that does it right.
And that was what led me to Valley of the Sasquatch. It's been pretty well received by critics and, as the one and only Bill Oberst Jr has a role in the flick I'm pretty much contractually obligated to review it, right?
So is this one able to fill those big footprints of the few good 'squatch movies to come before it?
Or is it another part of the pack of ugly beasts that fall short?
Read on...

VALLEY OF THE SASQUATCH (2015)

Dir: John Portanova
Starring: Jason Vail, Miles Joris-Peyrafitte, David Saucedo, D'Angelo Midili, Bill Oberst Jr.

SPEEDY SYNOPSIS: I'll try not to spoil too much here but continue at your own risk.

The movie opens with grizzled hunter, Bauman (Oberst) roaming through the lush woodland on the trail of something. As he progresses deeper into the forest, he comes across a ransacked camp. However, he is not alone…
Meanwhile, Roger Crew (Vail) and his son Michael (Joris-Peyrafitte) are both still mourning the loss of Roger's wife and Michael's mother. In the aftermath of this bereavement the relationship between the two has become strained, while Roger's drinking and loss of his job have seen them slip into serious financial difficulties. 
With barely a penny to their name the pair are forced to move into Roger's brother-in-law Will's (Midili) cabin in the woods, a ramshackle and basic abode, until Roger is able to get back on his feet financially. As a result of this, Michael's dreams of attending college have been dashed.
The pair lead a fractious existence together until they are joined by Will and Roger's bad-mannered, bad-influence drinking buddy Sergio (Saucedo). The group drink (well, Roger and Sergio do), discuss the big logging plans for the mountain and then stock up for a hunting trip. Sergio proceeds to bully poor Michael mercilessly, but thankfully his protective uncle Will has his back.
The hunting trip proceeds relatively without incident, but the group soon becomes aware that something is tracking them in the woods. Something hostile.
Will the group escape the beast? Can Roger and Michael repair their rift? Or can Will ensure that Michael escapes this dead-end life? And what exactly did happen to Bauman up in the woods?

THE BEST BITS (mild spoiler warning): The indie horror scene is one in which a number of very talented acting talents are currently plying their trade. As I watch and review more films a number of familiar faces pop up time and time again. Valley of the Sasquatch got me onside very early on by including two of my favourites: the consistently great Bill Oberst Jr and fab leading man Jason Vail.

Casting two talents such as these is indicative of the film's focal point: character.

This is a wonderfully written character piece that just so happens to unfold against the backdrop of a Sasquatch attack. The beasts could just as easily be replaced with wolves, zombies, invading soldiers or even a terrible storm — the main drive of this story is the fractured and complex family relationship between Roger and Michael, with Will included as a kind of idealised, guardian angel father figure for Michael and Sergio the irascible devil on Roger's shoulder.

The story by director Portanova is compelling and heartfelt. It gives us reason to care about these characters and actually deals with some pretty weighty themes for a film with a title that would not be too out of place on a Fifties drive-thru B-movie.

As well as decent characterisation, the writing maintains a strong, coherent narrative that is never derailed by the common horror film flaws of idiotic decision making or ignoring its own rules.

The storytelling is helped no end by its very strong cast. Oberst and Vail are excellent as usual and both add a great deal of gravitas to proceedings through their finely crafted performances. They are the sort of actors who elevate a movie just through their presence, and it is always a pleasure to see them both at work.

I especially want to praise Vail's subtle, nuanced performance. He has a very complex role, one which could be utterly unlikeable, but thanks to Vail's work you can't help but root for him. Very impressive.

Speaking of impressive, I was pleasantly surprised by Joris-Peyrafitte. He's not an actor I was familiar with prior to watching VotS and I was a little dubious when I realised that he would be getting more screentime than his more experienced co-stars. These reservations were misguided. He is an immensely talented young man and carries the bulk of the movie's emotional burden admirably. He's sympathetic, likeable, believable and never melodramatic. I hope he sticks with the genre because I really would like to see more of him.

In their supporting roles both Midili and Saucedo range from competent to pretty damn great at times and never let down the team. Midili is a good looking, softly spoken guy who provides another sympathetic character while Saucedo's monstrous Sergio is the kind of dickish a-hole that you can't wait to see get his comeuppance. He TOTALLY gets his character and is clearly having a whale of a time playing the prick we all love to hate. Good work, gentlemen.

Now, if I've made it sound like VotS is all talking, relationships and no Bigfoot, that is not the case. Yes, the richness and depth of the characters adds a lot to the film, but it doesn't forego the things we watch a Sasquatch flick for. There is action (and very well done it is too), a couple of wonderfully executed splatter scenes and, of course, shaggy bellowing beasties. That's right, BEASTIES, plural.

Valley of the Sasquatch is not content to give us a lone bestial forest-dweller but a whole clan of them. What's more, while the vast majority of lower budget Sasquatch movies keep their monsters out of sight, just affording fleeting glimpses here and there in deep darkness to mask their less convincing effects work, VotS is quite rightly proud of its beasts and totally shows them off. The creature effects by Doug Hudson and his crew is very impressive. The creature make-up and costumes are really quite excellent. 
And it's not just the way the Sasquatch look that exudes authenticity. Portanova has clearly studied the reported Bigfoot sightings and ensures that his beasts act accordingly. There's some very nice attention to detail that helps flesh out the creatures and adds to the intrigue of them, making them as enigmatic as their real world counterparts.
This isn't the only area in which the filmmakers are able to elevate their production values and bring this story to life. Portanova shoots the woodland and the cabin well, picking some great angles while director of photography Jeremy Berg really brings out the lush greens and deep earthy tones of the woods. This is a film that looks far better than I had any reason to expect it might.  

THE WORST BITS (mild spoiler warning): There's not too much to pick at here, but there are a couple of things.
First, as horror films go, Valley of the Sasquatch is not the most frightening of experiences out there. There are a couple of not particularly scary jumps and a bit of gore a couple of times but this is not the intense, Headless-style experience that the more hardcore gorehounds may crave. If you prefer your horror movies full of blood and boobs, you may find this one a little sedate for your tastes.
Also, while I praised the 'realistic' enigmatic behaviour of the family of Bigfeet (Bigfoots?) it may seem a little random to some. Their M.O. is decidedly sketchy and their endgame pretty much impossible to discern. This will probably come across as a plothole to some but I like the fact that these creatures remain mysterious and unknowable. It makes them less predictable and more 'wild'.
While the Sasquatch are pretty unpredictable, the same cannot be said of the main plot. Yes, there is the odd twist and turn here but the storyline is rather linear and within just a few moments of watching the film you are pretty much able to guess how it's going to end. It's a familiar journey, albeit a very enjoyable one.
Also, I could have done with more Vail and Oberst! They are all over the posters and publicity for the flick but both are missing for lengthy sections of the film. I know these are two busy guys but it's a real shame they didn't get to spend some significant time together. That truly would have kicked some ass! 
Finally, I think Valley of the Sasquatch may suffer somewhat  from the proximity of its release to Exists. They are two very different films (with very different budgets!) but Exists is the flashier of the two. It has more scares, the whole Found Footage gimmick and a heavyweight name attached to it in Eduardo Sánchez. This isn't to say that VotS is the worse film or inferior in anyway, far from it. I actually think in some areas it surpasses Exists while in others Sánchez's flick has the edge. I just think that casual viewers looking for simpler, more high-intensity shocks will pick Exists. Personally, I'd recommend you pick up both!

THE VERDICT: Valley of the Sasquatch is a pretty cool film. In a genre with more than its fair share of clunkers, this film rises above the crowd thanks to one thing: heart. Not just in the story, which is far more character-driven and well-written than most, but in the work of the film makers themselves. Every single dollar spent on making this movie is stretched to optimum effect, from the committed cast to the fantastic effects work to the wonderfully shot woodlands. If you have even a passing interest in Bigfoot or if you want a decent character-driven genre flick, Valley of the Sasquatch is guaranteed to make you happy. 

If you do decide to check it out, head over to the film's official Facebook page to find out how and where you can see it. Give it a Like while you're there too!

If you haven’t already, do please check out and like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House@HickeysHorrors

Until next time, I hope you enjoyed your stay.

ALL THE WEEK'S HORROR HEADLINES (4th-11th May)

Not got time to trawl the web for all the top horror news of the last week? Well allow me to give you a bite-size breakdown of the all biggest nightmarish news!

1. THE HOWLING AND DEE SNIDER'S STRANGELAND HEADING FOR REMAKES

Emaji Entertainments has secured the remake rights to not one, but TWO cult classics. First 1981's werewolf flick The Howling (which has actually spawned SEVEN sequels already!) and also the 1998 Dee Snider vehicle, StrangeLand. Written by and starring Snider as the creepy Captain Howdy, this has built up quite the following.

Read Emaji's press release on The Howling here.

2. NEW SCREAM SERIES TRAILER

Heh heh heh. Awesome.

3. ROB ZOMBIE REVEALS ANOTHER 31 IMAGE

I feel like I've seen this movie already! Yet another image from Rob Zombie's 31, this time showing the good guys including Eighties icon Meg Foster and the ubiquitous Sheri Moon Zombie in the most awesome/bizarre top I have ever seen.

4. GRAVE ENCOUNTERS: THE BEGINNING!

Fans of the Vicious Brothers' found-footage shockers Grave Encounters and its sequel (both of which I thought were pretty cool!) will be licking their lips at the filmmakers' latest tweet.

Prequel? I'm down with that!

5. FATAL PICTURES GIVES US A LOOK AT HEIR

I loved Fatal Pictures' last two shorts, Worm and Familiar. I love the work of the hugely talented Robert Nolan. And I love everything that I've seen with the hardest working man in horror, Bill Oberst Jr. I'm pretty sure you can guess how I feel about Fatal Pictures' Heir, starring both Nolan and Oberst.

It cannot come soon enough.

6. NEW RELEASES

First up a movie that I have been waiting forever to see — Wyrmwood.

It's Mad Max with zombies.

I'll let that sink in.

Buy it at Amazon here and stay tuned for my own review.

Next up we have the intriguing The Strange Case of Dr Jekyll and Miss Osbourne starring the great Udo Kier.

Buy it at Amazon here.

Also out this week we have creepy looking haunted house tale, The Haunting of Radcliffe House.

Buy it at Amazon here.

Are you a British reader and after more atmospheric homegrown frights? The Sleeping Room could be the flick for you!

Buy it at Amazon here.

If you prefer your movies with zombies and Billy Zane (and who doesn't love that????), check out Zombie Killers: Elephant's Graveyard.

Buy it at Amazon here.

And finally, here's a ghostly woman and a spooky child flick, Awakened. That ticks a few boxes, am I right?

Buy it at Amazon here.

If you haven’t already, do please check out and like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House@HickeysHorrors

Until next time, I hope you enjoyed your stay.

RAW REVIEW: THE DOOMS CHAPEL HORROR

How long has it been since a movie starring Hickey's House of Horrors fave Bill Oberst Jr. has popped up here on this blog?
The answer, dear reader, is TOO LONG.
What better place to break the barren spell than with a film that combines the wonderful cosmic horror of one of the finest genre writers of all time, H. P. Lovecraft, with the modern horror staples of found footage and sinister backwoods cults.
This is a combination of ingredients that couldn't possibly disappoint, right?
Read on…

THE DOOMS CHAPEL HORROR (2015)

Dir: John Holt
Starring: Austin Madding, Abby Murphy, Josh Cornelius, William Ryan Watson, Wendy Keeling, Alan Walters, Steve Crowley, Bill Oberst Jr., Joshua Mark Robinson

SPEEDY SYNOPSIS: I’ll try not to spoil too much here, but read on at your own risk.

Kyle Cole (Madding) is a young man with a traumatic past. Forever in the shadow of his handsome All-American brother Ryan (Watson) as a boy, tragedy struck when an accident horrifically took Ryan's life. After the town's folk of sleepy rural Kaler Mills viewed a leaked videotape  of the incident (made by Kyle who was slacking off when he should have been helping his brother) they blamed him for Ryan's death, making his existence a living hell until his grief-stricken parents (Keeling and Walters) sent him away.

Now a grown man, a filmmaker has tracked Kyle down after the video of Ryan's death has gone viral and has decided to make a documentary about him. The subject? Kyle's return to the town that ostracised him so badly. 

Along with his equally damaged girlfriend Mandy (Murphy), the group head back into Kaler Mills where Kyle is reunited with childhood friend Henry (Cornelius).

However, not all of the locals greet him with open arms and seething Samuel (Robinson) is quick to remind Kyle of the dark bond he has with a secretive cult lead by the enigmatic Jordan (Oberst).

What is the nature of Kyle's relationship with Jordan's clan? Will he ever be able to lay his demons to rest? And what manner of beast stalks the surrounding woodland, howling into the night sky?

THE BEST BITS (mild spoiler warning): I love a good backwoods horror and the decision to combine this subgenre with Lovecraftian horror is inspired. The Dooms Chapel Horror is a movie that drips with a menacing, oppressive atmosphere. Jason Turner's writing is sharp and sinks its hooks into the viewer long before the references to Lovecraft's Old Ones appear.

Yes, this does become a creature feature, but it is the moments of more personal horror that linger in the mind after the end credits have rolled. The video of Ryan's death is truly horrifying, despite the fact that nothing is shown, instead relying on Watson's agonised screams, the reactions of the other actors in the scene and a sudden gout of spilled blood to suggest the gravest of injuries. Likewise, the heart-wrenching tale of the bullying that the juvenile Kyle experienced during a High School football match is likely to haunt audiences even though it is never actually shown.

For at its core, despite the supernatural premise, this is a film in which the focus is on the characters and their plight.

Of course the vital component in bringing characters to life is to ensure that the cast are all on top of their game. In Madding and Murphy we have a pair of leads who absolutely deliver. The inner turmoil that has left both Kyle and Mandy so scarred is palpable, the chemistry  between the actors realistic. Madding is truly wonderful in the role, showing a real range in his performance. I can't wait to see more of him.

Murphy shares most of her screentime with Madding and totally hangs with him, scene for scene. Impressive work.

I was also impressed by the likeable Cornelius. He actually seemed like he could be Henry off camera as well as on, he was so natural in the role. Well done sir!

Among the townsfolk it was Steve Crowley's Sheriff McManus that stood out from the crowd. He was great as the small town guy that is doomed to end up embroiled in something far beyond his comprehension and added some real gravitas to key scenes in the film.

Of course, a lot of the attention in this movie will go towards Oberst's Jordan. I'm an unabashed fan of Oberst and his work here is as sterling as ever. I've conversed with Oberst online and he is a pleasant, witty and articulate chap, but when he is onscreen he really is one seriously creepy fella. His intensity makes Jordan mesmerising and combined with his soft-spoken and almost caring air, he becomes a darkly seductive figure, one that you can easily imagine the lost and broken souls among us would be drawn towards. This is some superb casting and makes me even more intrigued to see his turn as serial killer Manson in the upcoming Charlie Lives.

While Oberst is frightening in a still, seething and otherworldly way, Robinson's work as Jordan's disciple Samuel is the exact opposite, yet every bit as spine-chilling. His character practically bristles with barely restrained, venomous rage. Robinson's unblinking and psychotic stare burns with hatred. This really is a performance to take notice of.

Now, I know what a lot of you creature feature fans are going to be thinking: 'Well, that's all well and good, Hickey, but tell us about the fricking monster!'

The monster, like the moments I mentioned earlier, works so well because a lot of it relies on the power of suggestion. The awesome sound effects of the beast's roar are truly frightening and the fleeting glimpses we do get of the beast (realised through a combination of stop-motion and practical effects) are enough to send shivers down the spine.

This is just one of the tricks that director Holt uses as he weaves a story big on atmosphere and emotion and less on flashbang trickery. As always, the use of first person camerawork puts us in the characters' boots while the odd use of cctv and surveillance footage makes it all feel a little more real while neatly addressing the problem of the unrealistic cameraman who shoots everything when the shit hits the fan.

It is often easy to overlook the directing when a movie is shot as naturally as possible but this is a talent in itself and one to be applauded.

Finally, my description thus far may make it seem that this is a slower, more cerebral horror flick. Rest assured that while this is indeed a deeper, smarter film, it still brings the blood, guts and visceral frights when it matters. The Dooms Chapel Horror takes its time building up to it, but when it reaches the climactic monster rampage sequence in which the true extent of the creature's brutality is shown, it's no holds barred!

This is a hard hitting, bloody scene and, like so many others in this film masterfully presented by Holt and cinematographer James Houk, it completely delivers.
Finally, I loved the Old God's psalm in the movie — that was a superbly creepy ditty!

THE WORST BITS (mild spoiler warning): Okay, I'm going to jump straight into my biggest bugbear here. At several points during the film (mainly during the more exciting and action-oriented moments) we are given some stirring POV shots from characters. This is cool, except I don't remember seeing several of them carrying cameras. It's annoying because it feels like a cheat and could just have easily have been explained away with a throwaway scene or line of dialogue.

Now if you can get past that (and you really should try, there's plenty to dig here) the film does still suffer from plenty of the problems that the Found Footage subgenre contains. A lot of people are burnt out when it comes to 'shaky-cam-in-the-woods' movies so this may have to work a little harder to overcome audience apathy. Personally, I'll watch any kind of movie (provided it's done well) and there are still plenty of great found-footagers out there. This is one of them and manages to avoid a lot of the pitfalls inherent in this type of flick.

Finally, as much as I like the power of suggestion in a movie, it would have been nice to see a little more of the monster. Its scenes are mainly of the blink and you'll miss them variety and the shaky cam nature of those appearances mean that they are pretty damn difficult to work out. It's a shame because it is pretty obvious that a lot of hard work went into the monster shots so it would have been nice to really celebrate them. 

On a similar note, I wish there had been a little more of Jordan, Samuel and the cult in the movie. Of course, I think plenty of films could do with more Bill Oberst Jr.!
Finally, the pace seems to escalate pretty darn quickly towards the end, leading towards a rather abrupt and out of left-field finish to the movie. It feels that given a little more breathing space the ending could have flowed along a little more naturally. It's not a bad ending by any stretch, but I do feel it could have been executed a little better.

THE VERDICT: Part Pumpkinhead, part The Sacrament, part Cloverfield and with all that extra Cthulhu goodness, The Dooms Chapel Horror is a great little movie. It's atmospheric, compelling, creepy as hell and has some wonderful performances. It's not perfect, but it is very, very good indeed. Come for Bill Oberst Jr and monster attacks, stay for a surprisingly poignant character examination of guilt and revenge. I loved this film and I really think a lot of you will too. Plus did I mention Cthulhu?
Check out the official Facebook page for more news on how you can watch the movie. Give it a Like while you're there too, these guys deserve your support!

If you haven’t already, do please check out and like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House@HickeysHorrors

Until next time, I hope you enjoyed your stay.

RAW REVIEW: COYOTE

We‘re nearing the end of January and I haven't still haven't reviewed a Bill Oberst Jr. film yet this year! What the hell?

It looks like it is time to address that, and what better place to start than with Trevor Juenger's Art House/horror movie, Coyote? This is a film that has won awards at some festivals, yet been banned at others.

Need I say anymore? Read on...

COYOTE (2014)

Dir: Trevor Juenger

Starring: Bill Oberst Jr, Victoria Mullen, Shawn I. Chevalier, Bill Finkbiner, Joe Hammerstone, Heather Schlitt, Tasha Zebrowski

SPEEDY SYNOPSIS: I'll try not to spoil too much here, but read on at your own risk.

Bill Stone (Oberst) is an aspiring writer who has recently moved into a new home. He is haunted by recurring nightmares in which he is brutally slain in his bed, so he now forces himself to stay awake at all costs. 

Taking a job as a removal man with his macho racist boss Joe (Finkbiner), Stone's paranoia blossoms, causing him to exercise constantly and familiarise himself with weapons and outdoor living in preparation for attack.

When he discovers a CV and certificates for qualifications he doesn't possess during a house move, Stone takes them and uses them to con his way into a job at a local TV station. Here he meets Jesse (Mullen) and a relationship starts to blossom... but how long can it last as Bill's mental state continues to unravel?

THE BEST BITS (mild spoiler warning): Well, holy shit, what the hell did I just watch?

Juenger's film is easily one of the most bizarre I've ever seen, let alone reviewed for this blog. It will prompt a strong reaction from the viewer, like any good piece of art will do.

It is a brave film, filled with striking imagery and is a stunning example of exactly what Art House Horror can offer.

A lot of Art House pictures are more experimental works, with a focus more on the aesthetics, symbolism and visceral reaction of what it shows, often at the expense of conventionally structured storytelling. This could be said of Coyote, but while many Art House films forego plot for visuals, Coyote manages to maintain a (mostly) cohesive storyline, instead using its more artistic sensibilities to drag you into the fractured psyche of our deeply disturbed lead.

There are legitimately shocking onscreen moments (which almost certainly led to the film's ban in some areas) yet at times there are also moments of very dark, very twisted beauty. 

Juenger's film is truly fascinating, often challenging and always compelling — it cleverly uses non-linear storytelling and has a seam of the blackest humour running through its core.
As a reviewer I watch a lot of films and some struggle to keep my attention throughout — Coyote kept my eyes riveted to the screen.
This is to say nothing for the astonishing and often jaw-dropping moments of violence that occur throughout the film. One sequence in particular unfolds like a ballet of brutality and is truly a spectacle to behold. It could well be one of my favourite scenes of recent years, it was so masterfully executed.
The film utilises a number of fantastic tricks throughout, from the uncomfortable score by Michael Schiralli to the jarring colour transitions to disturb the viewer, neatly encapsulating Bill’s descent into insanity with both aural and visual cues. Even the title is intelligent, taking the name of a dangerous, predatory, scavenging creature that exists on the outskirts of humanity, a perfectly apt description of the state of mind into which Bill devolves. 
As a relative newcomer (Juenger has just five directing credits to his name), Juenger deserves full praise for his bold decisions with the film. WIth hints of so much more behind the story (including a metamorphosis theme that takes in a story about the vengeful wrath of aliens) and a whole host of unanswered questions that invite deeper contemplation of the movie, Juenger is definitely one to watch.
I honestly believe there will not be single review of Coyote that overlooks Bill Oberst Jr’s performance. I’ve long sung his praises here at Hickey’s House of Horrors but this is arguably the finest performance I've seen from him yet. The film is almost a one-man show, and Oberst is quite frankly, incredible. This is a committed performance and he owns the screen. He shows nuances aplenty as a deeply flawed and broken man. At times terrifying (in some scenes Oberst channels that same level of deranged menace he displayed so memorably as Papa Corn in Circus of the Dead), at others genuinely warm and funny (that ‘alternate’ job interview had me laughing out loud), sometimes sweet (Bill’s first scene with Jesse feels almost as if it could have come from a gentle romcom) but always deeply and very sadly tragic, this is genuine brilliance.
This is to say nothing for his bravery in some scenes — very few people would be prepared to be filmed sat in a fishing chair in just their underwear, wearing a dead coyote on their head as they urinate into a bottle and then drink it, before promptly frolicking among a group of school children in a fountain and reciting the famous ‘To be or not to be’ soliloquy from Hamlet. Thankfully, Bill Oberst Jr is! Mr Oberst, you may well be my hero for this!

THE WORST BITS (mild spoiler warning): By far the biggest obstacle to many people enjoying this film will be the experimental nature of the film. Art House cinema is challenging and thought provoking. By it’s very nature it is not for mass consumption and the masses will not ‘get’ Coyote.
It can be a tough sell, it requires a lot more concentration and inspection than the umpteenth Friday the 13th ripoff featuring nudity, bloodshed, jump-scares and a nice neatly resolved ending. Quite simply, the surrealism of Coyote is very much a matter of taste and like any bold flavour, will not be to everybody’s palette. In short, if a film in which the lens of a videocamera transforms into a vagina which Bill Oberst Jr then proceeds to manually stimulate in close-up sounds a little beyond your comfort zone, you might well be best off sticking to more mainstream titles.
The ending was a bit of a head-scratcher for me, but as a lot of the events we are shown are inherently compromised, coming from the point of view of a man who has experienced a complete psychotic mental breakdown, there really is no way of truly knowing which, if any, of the scenes we are shown are 'real' or hallucinatory. Therein lies what will either prove the most fun or most frustrating part of the viewing experience for what I imagine will be a very devisive film.
As wonderfully shot as it is, I also feel that the lower budget of the film sometimes hurt it. The gritty look does help the film as a depiction of the desperately grimy state of mind that Bill descends into, but I felt that slightly more polish could have made some of those already pretty striking visuals pop that little bit more.
Finally a couple of the supporting players didn’t quite hit the spot for me. It might be a bit much to ask that everybody in the movie match Oberst’s heady heights in the lead role, but as Mullen and Finkbiner proved with their fantastic work in their roles, there are plenty of very talented actors out there in indie horror. Unfortunately, a couple of their co-stars didn’t quite do themselves justice. Luckily the core of the cast were very, very good, so this rarely became an issue.

VERDICT: Well, this is a tough one. Do I recommend a film that I KNOW a section of my readership will adore but that others will probably hate?
I think so, but I do need to warn those of you that have not yet experienced Art House horror, this is a unique and very different experience to the average popcorn horror flick. Think the likes of David Lynch cranked up another gear and you’re getting close to the often disturbing, sometimes confusing but always compelling viewing experience that is Trevor Juenger’s Coyote. You may well loathe it, you may adore it, but you WILL remember it. 
I mentioned at the beginning of this review that a good piece of art will provoke a strong reaction in the audience — with that in mind, Coyote is a brave and resounding success.
For those of you ready to take the plunge, the film was released to buy last month, so feel free to check it out. If you do, please do let me know your thoughts on the movie, I’d love to hear what my readers think of this one!
If you like what you’ve heard so far, why not visit the film’s official Facebook page and show them some love with a Like. Visionaries and risk-takers deserve props!

If you haven’t already, do please check out and like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House@HickeysHorrors

Until next time, I hope you enjoyed your stay.