One thing you can’t call Brain Damage Films is inconsistent. Pretty much releasing anything that includes an unhealthy overdose of blood soaked T and A, they guarantee the most facile of cinematic experiences. Hell House: The Book of Samiel is yet another baffling iniquity from the production company that bought you such frat boy classics […]Read More
When I was but a pup, my family and I moved from our rustic borehole in Blighty to a far statelier abode in the United States of America. Situating ourselves within the shoulder state of Wisconsin, we quickly warmed to the country and its many traditions. The one most impacting of such traditions was a […]Read More
When you begin to write a retrospective on such a monumental film, released before you were born, it is difficult to know what the movie going public were used to – the social climate of the time and what the limitations of cinematic effects had on movie goers expectation. However what you can say is […]Read More
We here at Love Horror love Halloween (and not just by proxy). Every year, when the Celtic festival of harvest rolls around a wicked expression of unsettling menace creeps its way across our sunken faces. It’s the one day of the year that we are allowed to indulge our obsession with everything ghoulish and ghastly, […]Read More
Pig Hunt promises many things: enormous killer pigs, hunting, rednecks, a small arsenal of weaponry, scantily dressed babes, and fields of marijuana (and that’s just the poster). It also follows in the footsteps of a very particular strain of American filmmaking, one that pits man against the elements, adventure against terror and the noble instincts […]Read More
Clive Barker is not a good writer. His stories are ineffectual and undemanding, largely due to a juvenile prose style which walks a fine line between irrefutably grotesque and gut wrenchingly hilarious. So why then (I hear you scream) do so many filmmakers draw such heavy influence from Barker’s embarrassingly trite, genre casualties? The answer […]Read More