EXORCIST II: THE HERETIC ft. Candyman: Farewell to the Flesh + Ravenous

Everyone has told me to avoid Exorcist II: The Heretic for as long as I can remember and I was sure there was good reason to. Nevertheless, I want to watch the rest of the series and it’s not like me to consciously skip through parts of a franchise, so I had to gave it a crack. It turns out everyone was right.

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TERRIFIED ft. Frontier(s) + Hitchcock

Is it possible for a film to start with a bang but then end up completely blowing it by the credits? Terrified seems to confirm this theory. An Argentinean horror, the movie canvases a suburban block where house to house unexplainable and unbelievable phenomena are occurring.

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HIGH TENSION ft. Psychomanteum + Haunt

High Tension (aka Switchblade Romance in the UK) resides in the elite circle of horror favorites that helped shape me into the Manster I am today. It might be my top foreign film, my #1 foreign horror for sure. 17 years removed it holds up perfectly intact today.

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Under the Shadow is a 2016 horror film set in 1980’s war-torn Iran. A small family in a apartment building is coping with the already dangerous situation when an inexplicable presence starts to plague them. As if living in a frequently bombed city isn’t scary enough…

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What is the Spanish word for cash grab? You might not find it anywhere in [REC] 3: Genesis’ subtitles, but upon viewing you will learn what a cash grab smells like because this movie is as rank as spoiled tripe!

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Finally, a movie I regret not going to see in the theater. It has been such a long time since the last (which I guess is a good thing), but so many times recently I’ve had the opposite reaction, where I go see something on a whim and I REGRET spending the high price of admission. If only I could take back one of those misfires and replace it with a screening of Goodnight Mommy. Continue reading



A Girl Walks Home Alone At Night, or for the sake of this review, AGWHAAN, is an Iranian film noir focused on a slew of deadbeats in “Bad City” whose lives all become intertwined with a young vampire. The film is beautifully shot, with the black and white giving it a gloomy tone. Between the male lead’s ’50s bad boy attitude/style and the female lead’s angst-ridden record collection at some point I was waiting for The Smiths to start playing and for them to ditch the school dance to go read poems to each other in the woods. On a scale of grindhouse to arthouse AGWHAAN definitely throws its weight more on the stylistic side, lacking the substance to make first time director Ana Lily Amirpour’s effort really hit home (similar to the trap The Neon Demon fell into). Continue reading