Extra Terrestrial Visitors (1983) [Blu-Ray/CD]

Full Disclosure: This title was purchased at our own discretion from Severin Films.

Wackiness ensues as an alien meteor housing crash lands in to a forest. Then there’s a weird little boy named Tommy who collects bugs all day. Then there’s a pop band that goes on vacation in the woods. And there’s an old couple in the woods living in a cabin. The aliens are now on the loose in the forest. And there are these armed poachers hungry to kill some animals. And then Tommy (Óscar Martín) finds an egg that he realizes is an unborn alien. Said alien, nicknamed “Trumpy,” is desperate to get back home. How will these hilarious storylines converge? Will Trumpy consume mankind?

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Sisu (2023)

Director Jalmari Helander’s “Sisu” is a bat shit insane action movie in a year filled with some pretty good action entries. It’s like Indiana Jones and The Punisher were mashed together with a hint of Jason Voorhees, and out came “Sisu.” It’s a Nazi killing, dismembering, mutilating, head stabbing, revenge saga that manages to competently take its paper thin premise and produces an absolutely gore soaked homage to exploitation action films of the seventies and eighties.

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After “Evil Dead Rise,” watch these Five Apartment Based Horror Films

The new “Evil Dead” sequel “Evil Dead Rise” has become the newest horror hit, taking the deadites and warping them in to the inner city. There the book of the dead is cracked open and the deadites emerge to wreak havoc in a run down apartment building. While the setting of the apartment building isn’t often used, when it is implemented, it can be very effective. Here are five Apartment centered horror films you should watch after “Evil Dead Rise.”

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Martha (2019)

Director Christopher Haydon’s short film is both a compelling drama, and a rather captivating mystery. In its own way it’s a horror movie, but more a horror movie about loneliness, isolation, and repetition. The entirety of “Martha” is meant to be cryptic, as Haydon begins the film on a single scene of a woman sitting in a hall with a single red balloon.

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Belle de Jour (1967) [LA&M Film Fetish Forum]

Luis Buñuel’s film is not just a celebration of protagonist Severine’s penchant for sadomasochism, but it’s also an examination of her desire for it. When we first meet Severine, she’s riding in a carriage with her husband. After some words are exchanged, he violently tears her off and drags her in to the woods. There she’s tied up, whipped, and savaged by his two coachmen, both of whom delight in taking advantage of her. We then see it’s nothing more than a depraved fantasy from a woman who is absolutely bored. As someone who is a part of the elite, who finds herself in the mountains at a ski lodge every weekend, she desires something so much more that money can buy.

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Requiem (2021)

A film like “Requiem” is just begging to be turned in to a feature, as I think a lot of the whole Salem Witch Trials is capable of interesting stories. “Requiem” is not so much a tale about the Salem Witch Trials, and how it became a scapegoat for hate, repression, and homophobia.

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The Good, The Bad, and the Buggy (2023) [CINEJOY 2023]

I can’t say that “The Good, The Bad, and the Buggy” works as a short film, so much as a potential sketch for a web comedy. It’s a funny and cute sort of short film about parents being about as petty as humanly possible. One thing that hinders “The Good, The Bad and the Buggy” is that there isn’t any actual extrapolation as to why these parents are feuding with each other. 

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On The Line (2023) [CINEJOY 2023]

I have a great respect for what Director-Writer Oliver Pearn pulls off with “On the Line.” It’s a competently directed and well constructed thriller that takes its low budget and implements it to create genuine atmosphere. Sadly, I wish I liked it more than I did, mainly because I wasn’t invested in the core mystery that fuels his drama thriller. Fans of audio dramas will especially be fond of how the movie enhances the narrative by depending more on the delivery of its voice cast, encouraging us to envision what’s unfolding rather than showing.

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