Cannibal Holocaust (1980)

RUGGERO DEODATO

CANNIBAL HOLOCAUST

ITALY, 1980

8/10

"Keep rolling! We're gonna get an Oscar for this!"

**This review contains many spoilers, even though this is honestly a film that can't be spoiled**

The magnum opus of the short lived cannibal sub genre, CANNIBAL HOLOCAUST (1980) is probably one of the most talked about horror movies of all time, and is definitely the most controversial. This film, one of the earliest found-footage films, follows a professor as he attempts to find traces of a group of four people who ventured into the Amazon to film a documentary about the tribes of cannibals which reside there. Nothing could prepare him for what he discovered on the tapes. The film is famous because when the film was released in Italy, Deodato, the director, was believed to have murdered his cast and that this movie was actually a snuff film. He had to bring all the actors in and show how the magnificent impaling effect (pictured above and in the poster) was pulled off. It is also infamous because Deodato murdered actual animals for the movie (they were later used as food for the native actors, but it's still probably the most controversial aspect of the movie). The animals that are killed include a coatimundi, a turtle, a spider, a snake, two squirrel monkeys, and a pig. It is possible, if you own some of the DVDs, to watch a shorter version with the violence against animals removed (I know the Grindhouse release has this option, I'm not sure which others do, though).

When I watched this film for the first time a while ago, I was honestly expecting a mindless splatter fest but was pleased to find an actually thought-provoking message questioning how just how barbaric culture in the "modern world" is today. That's not to say that the film isn't disturbing, because it really is. The rape of the tribal girl in the last half of the film remains one of the only scenes in a movie that upsets me to the level of having to avert my eyes, the hut burning scene was incredibly upsetting for me, and the Last Road to Hell segment contains footage of actual human executions (they weren't filmed specifically for this film, Deodato simply used already filmed footage of real like executions), all in all this is a film that is pretty difficult to get out of your mind after the credits roll. Because of this, I honestly can't recommend this film, as it will be very, very hard to watch for anyone who is upset by violence, rape, anything really. The movie starts off slightly tame (the first half does have some violence and a pretty graphic rape scene, as well as some of the aforementioned violence against animals, but it's not nearly as upsetting as the last half), and it almost lulls you into a false sense of security. Then, the professor discovers the team's tapes, and that's when the film really begins.

This movie has an amazing soundtrack. The calming, peaceful theme is in direct contrast with the disturbing, grisly nature of the film. Yet underneath that light score, you still feel something wrong with it. It was this piece of music that made Faye's rape and the hut burning scene probably the two most memorable scenes in the entire film. The acting is probably the weakest part of the film, but it does improve throughout the film, especially once the characters view the found footage, so the portion of the film involving the documentary crew is quite believable. The direction is great, the camerawork does make it seem like what we're viewing is actually happening, but it doesn't have BLAIR WITCH PROJECT (1999) levels of camera shake, or it's at least not as obvious. The story, while incredibly simple, is fantastic and executed perfectly.

I have only seen this film twice (once a while ago, I don't remember how long, and another just last night), so it's obvious that, while I do like it, it's not the kind of film I wish to watch again and again, as it can get hard to watch. While I gave MARTYRS (2008), another talked about and disturbing film, a higher rating, this movie is definitely the more upsetting/disturbing of the two. Yes, it does have its fair share of set backs, but it's an incredibly influential movie and is such an important part of the genre that it should be seen by everyone who can stomach it.

The Fly (1986)

DAVID CRONENBERG

THE FLY

USA, 1986

9/10

REMAKE OF THE FLY (1958)

"A fly... got into the... transmitter pod with me that first time, when I was alone. The computer... got confused - there weren't supposed to be two separate genetic patterns - and it decided to... uhh... splice us together. It mated us, me and the fly. We hadn't even been properly introduced."

Some other science fiction-horror films made in this same time period are just large spectacles to display disgusting and impressive special effects. Lots of times, they are generally weak on character development and good plots. Now, sure, David Cronenberg's THE FLY (1986) does have a lot of pretty gross special effects and the plot is pretty simplistic, but the characters in this films are so well developed and fleshed out that I can't help but feel that this film is generally much better than many others of its kind. It follows scientist Seth Brundle, who thinks he figured out a way to transport objects, and decides to show a woman in the media, Veronica Quaife, his projects. THE FLY is not only a great horror film, but it is also an amazing drama and love story on top of that.

Even though it is dramatic and romantic, do not be fooled: THE FLY is not a weak-hearted, light-spirited, happy love story of a movie. The film shows, in excruciating detail, Seth Brundle's transformation from a human being into a gigantic Brundlefly. Yet still, Jeff Goldblum (the actor playing Brundle) is able to break past the many layers of disgusting make-up and let the humanity beneath still break free. His performance in this film is truly great, and probably one of his best.

Cronenberg was no doubt very intelligent in his showing of Brundle's transformation. We first see the good aspects of the fusion, such as the extra strength or the increased stamina in bed. Even though we, as the viewer, know that everything will fall apart and any benefits which Brundle might have had will be nowhere near comparable to what happens to him later, we still have a small glimmer of hope that maybe, just maybe, things may turn out well. And then, slowly but surely, things take a turn for the worse. Much worse. 

And then there's the special effects, namely, the make-up, for which this film won an Academy Award. It starts out subtle: strange hairs on his back, changes in his face, and then it because much more graphic and brutal. The final half of the film features many layers of make-up, which no doubt took forever to get in and out of. While I'm not sure if I'd qualify it as gore because his transformation doesn't have much blood (the finale I would definitely qualify as gore, though), gore-hounds will probably be pleased just because the make-up in this is so good, disgusting, and brutal.

As I mentioned in my review of THE OMEN (2006), one of the most important things I need to see in a remake is something new. Besides the basic premise of a man being fused with a fly, this film is pretty different to THE FLY (1958). This film is, in my opinion, the superior film. It is smarter, scarier, sexier, and all around a better film, something that is very rare in horror movie remakes. All in all, THE FLY is a great film that should be seen by anyone who hasn't viewed it yet.

My Bloody Valentine (1981)

GEORGE MIHALKA

MY BLOODY VALENTINE

CANADA, 1981

7.5/10

"From the heart comes a warning, filled with bloody good cheer, remember what happened as the 14th draws near!"

The 1980s, what a time for horror the 1980s were. Following the huge success of HALLOWEEN (1978) and FRIDAY THE 13TH (1980), many slashers based on certain days were created. We got NEW YEAR'S EVIL (1980), PROM NIGHT (1980), SLIENT NIGHT, DEADLY NIGHT (1984), and many others. And probably one of the best of those films, and, in my opinion, one of the best non-franchise horror films of the '80s was MY BLOODY VALENTINE (1981).

The plot is pretty simple. Two security guards at the mine hurry away to get to a Valentine's day party in time, forgetting to check the methane levels. There's an explosion, and the miners are stuck in the cave, only one surviving: Harry Warden, who had to eat the flesh of the other miners to survive. After a year at a mental hospital, he breaks free and kills the two security guards responsible, and warns the town never to celebrate Valentine's Day again. 20 years later, the town decides to hold another Valentine's dance, and sure enough, the killing starts again.

This film is famous because the MPAA forced it to cut out a lot of its gore (and the gore in this is very impressive for a kinda low-budget flick), but nowadays it can be viewed in all of its gory glory on the uncut DVD. True, the added footage is a little grainy, but seeing as it has been on the side for 30-ish years, it's rather good. Many kills are interesting and creative, with many rather effective jump scares.

There are a lot of characters, some of them are not memorable and are paper-thin. There are a lot of cliches, like the jokester, and an older bartender who warns the young characters (not teenagers, just young) is very similar to Ralp from FRIDAY THE 13TH. The four or five more main characters are a bit more complex and interesting. They are still not great characters, but they are believable and real enough that I care what happens to them. Since there are a lot of characters, there are also a lot of actors, and a lot of the acting is nothing remarkable. However, a lot of the lead roles do very well, and we don't watch slashers to see Oscar-worthy acting, we watching slashers to see a bunch of people get cut up creatively.

The director does a very good job creating the atmosphere. The opening scene is very surreal and dreamlike, yet a horrific act still occurs, which perfectly sets the tone for the rest of the movie. In the beginning, we see Valentine Bluffs, a town covered in pink and red hearts and banners declaring the upcoming Valentine's dance, yet we still feel a sense of foreboding. Later in the movie, the scene involving the descending suits is very suspenseful. When some of the characters descend into the mine for the climax of the movie (filmed in an actual Nova Scotian mine), it is very claustrophobic and creepy. I think it compares best to the recent british horror, THE DESCENT (2005). The scene where four of the characters climb the ladder was very tense and created a very large sense of anxiety. The shot of the killer knocking out the lights in the mine with his pickaxe is very creepy.

Everything about the killer is scary, really. I mean, I find gas masks pretty fucking creepy, and they make the whole "heavy breathing" cliche even more distinct and creepy. The costume really hides the killer's identity, whether it's Harry Warden or any of the other characters killing people is pretty hard to tell. I don't really like the twist at the end just because it wasn't executed very well, but the last line of the film is still really, really creepy.

In conclusion, this is one of, in my opinion, the better 1980s slasher films. Though the plot is lackluster and the actors/characters leave much to be desired, it's still a very effective, atmospheric horror flick. Try to watch the gorier uncut version, but the original cut is still pretty effective.

The Shining (1980)

STANLEY KUBRICK

THE SHINING

USA, 1980

10/10

"I can remember when I was a little boy. My grandmother and I could hold conversations entirely without ever opening our mouths. She called it 'shining.' And for a long time, I thought it was just the two of us that had the shine to us. Just like you probably thought you was the only one. But there are other folks, though mostly they don't know it, or don't believe it."

THE SHINING (1980) is my all-time favorite horror film. Everything about the film, from the performances to the colors to the scenery and more is completely flawless. It is one of those films that you need to see in order to call yourself a horror fan. From the opening shot of Jack's car (complete with a famous error in the fact that you can see the shadow of the helicopter that shot was filmed in) and the unnerving soundtrack, you know you are in for a creepy journey.

The film is over 2 hours long, something very rarely heard of in mainstream horror, but the film never bores its viewer, even with the slightly slow pace. Those accustomed to the in-your-face jump scares of the recent horror films may find this movie dull and slow, yet Kubrick is masterfully building tension that pays off in a brilliant finale (the last 30 minutes of the film being incredibly creepy). When I first watched this movie, I wondered why some scenes were in there, because at the time I thought them to be irrelevant. For example, I initially found the interaction between Jack and Lloyd the Bartender to be boring and too drawn out, but now I see how it serves a very specific purpose in the plot of the movie.

There are many infamous scares featured in this film. Almost everyone has heard of the the twin girls in the hallway early on in the film, or the shot of Jack sticking his head through the broken bathroom door and saying "Here's Johnny!", but the entire film packs nonstop scares, thrills, and tension that become more and more unnerving the more times the film is viewed. This film is a perfect example of how to properly execute a non-ironic descent into darkness and insanity. 

Jack Nicholson gives a wonderful performance as the insane Jack Torrence, while some people criticize his performance as being comedic at some point (I've heard people say that they laughed while he describes his dream of killing Wendy and Danny, though I find no such comedy in that scene), or as not portraying Jack the way Stephen King described him in the original novel (Nicholson makes it seem that Jack was always slightly insane, whereas in the novel, is insanity is fully provoked by the hotel). Some critics make fun of Shelley Duvall as Wendy Torrence (she even was nominated for a Razzie award, an award for worst actress), but I, as well as many other modern day viewers, absolutely adore her performance. Duvall makes me care more about what happens to Wendy more than what happens to any of the other characters. Danny Lloyd gives a surprisingly good portrayal of Danny Torrence, even though is still very young. All in all, THE SHINING's performances are stellar, some of the best you'll find in horror films.

In conclusion, THE SHINING is a rare gem in the genre. I recommend for fans of the novel to treat THE SHINING as a movie separate from the book, because when viewed as an adaptation it's pretty shitty, and all around nothing like the book, but when viewed as a separate work it's one of the best films ever made. It is a truly horrifying film that will stick itself into your head and never let go.

Hellbound: Hellraiser II (1988)

TONY RANDEL

HELLBOUND: HELLRASIER II

UK, 1988

6.5/10

FOLLOW-UP TO HELLRAISER (1987)

"The mind is a labyrinth, ladies and gentlemen, a puzzle. And while the paths of the brain are plainly visible, its ways deceptively apparent, its destinations are unknown. Its secrets still secret. And, if we are honest, it is the lure of the labyrinth that draws us to our chosen field to unlock those secrets"

Reviews for other films in the franchise found here.

*Some spoilers afoot, all rather minor, but if you wish to go into the film 100% un-spoiled, it is best if you skip this review*

HELLBOUND: HELLRAISER II (1988) picks up right where the original HELLRAISER (1987) left off. Fans of the original can expect more of the same, yet while this film is a worthy follow-up, it is still vastly inferior.

Something that made the original so unique (even different from all of its sequels) was its use of the Cenobites: instead of using them to advance the plot, they use them to emphasize it. While the sequel does this in some regards, the plot of this film could basically be summed up as "Kirsty and some other forgettable characters fight monsters". The first 40 minutes of the film, before the gates to Hell are opened, are the film's strength: keeping the spirit of the original and still feeling strangely frightening, though it is too similar to the plot of the original to stand on its own. I, for one, preferred Claire Higgins's performance as Kirsty's step-mother Julia in this film to her performance in the original, though she was written better in the original. But once the puzzle is solved and Hell is opened, the film loses much of its strength.

Dr. Channard begins the film as a wonderfully creepy villain, but the second he becomes a monster similar to that of the Cenobites, he loses all of his power, and even defeats the Cenobites so easily that any fear you may have held at the beginning of the film is instantly lost. The last ten minutes of the film is a mess as director Randel tries and fails to create any tension or suspense, and the Leviathan being incredibly disappointing, and the final "twist" (though it's honestly more of a "reveal") is forced, unnatural, unoriginal, and boring.

Part of the reason I love the original is because it is so character- driven in a genre filled with characters who just let things happen to them, rather than being the force behind everything in the film (the Cenobites, as I said before, are more of an epilogue/conclusion in the original, rather than the entire plot). While many people argue that the film cannot be enjoyed because almost every character is, in some way, shape, or form, extremely unlikable and complicated, yet this is, in my opinion, what adds to the film's strength. All of the characters are human, which adds a level to the film, as it is much easier to place yourself in the characters's shoes. The sequel, however, lacks that character complexity, with all of the new characters being clichéd, one- dimensional shadows of people, and even some of the recurring characters lose some of their complexity.

Still, for all of the films downfalls, it also contains a lot of strengths. The scene in which Tiffany finds her own personal Hell is probably the creepiest in the entire film, and Frank's Hell is rather intriguing and disturbing. The beginning half of the movie truly delivers, and is up to the standard that the original had, and before Dr. Channard ruins them, the Cenobites are quite threatening, perhaps even more so than in the original. Pinhead delivers some truly great lines ("Your suffering will be legendary, even in Hell!", "But please, feel free, explore. We have eternity to know your flesh.", "It is not hands that summon us. It is desire."). The film delivers some backstory on Pinhead, which is interesting and creepy, adding to the quality of the film. All in all, the film is rather unique, even among the others in the series, and it will be difficult to find a film that is quite like this one. So, despite all of its mistakes and failures, this film still holds a special place in my heart.

Hellraiser (1987)

CLIVE BARKER

HELLRAISER

UK, 1987

8/10

"I thought I'd gone to the limits. I hadn't. The Cenobites gave me an experience beyond limits... pain and pleasure, indivisible."

After writing a novel, THE HELLBOUND HEART, Clive Barker wrote and directed an film adaptation of his novel, the cult classic HELLRAISER (1987). Barker wrote the novel with the intention of turning it into a film, so the transition is quite nice, though there are a few differences.

The film opens with this weird-ass guy Frank buying a mysterious puzzle box, and solving it, bringing in some weird-ass monsters named the Cenobites, who torture him. Eventually, his brother Larry and unfaithful wife Julia move in to the house. When Larry bleeds on the floor, Frank is revived (without skin, which is pretty disgusting yet I couldn't bring myself to look away) in front of Julia, and convinces her to lure horny men into the attic so he can kill them to grow his skin back.

Of course, one of the things this film does masterfully is blur the line between pain and pleasure. I have not read THE HELLBOUND HEART, although I plan to, and I have heard that during one of the torture scenes, Frank is masturbating, and his semen is on the spot in the attic in which he is revived. Of course, this was cut out, as that would probably be difficult to get into a movie today, let alone 1987. If I remember correctly, the scene in which Larry accidentally cuts his hand on a nail is interwoven with a flashback scene of Frank and Julia having sex. As the quote above states, the Cenobites gave pain, and within that, deeper pleasure.

Even if you've never seen HELLRAISER, you've no doubt heard of it, and have most likely formed a connection in your mind to this movie and the Cenobites, namely Pinhead, the most known and infamous of the Cenobites (seen on the poster above). However, this film, unlike the sequels, is not about the Cenobites. Sure, Frank wants Julia to get as many men as possible so he can grow his skin back quickly and escape the Cenobites, but they really only exist to advance the plot and emphasize the pain/pleasure parallel. In fact, HELLRAISER is a very character-driven horror film, more so than others. Almost every consequence comes as a result because of a character's actions, not some unseen supernatural force, whereas the sequels threw this out the window to focus on Pinhead and other Cenobites. I understand that the Cenobites eventually had to take on a larger role because it's much easier to market these films with Pinhead as the center of focus, but I honestly do believe that's why all of the sequels were generally disappointing.

Incredibly gory and disturbing, though some of the effects have not aged as well as others, HELLRAISER is a film that, quite honestly, must be seen by anyone who claims to be a fan of horror. While the franchise quickly went downhill, the original is still worth watching. It is probably one of the most unique films in the entire genre, I have had difficulty finding any film that is similar to it. While it definitely will not appeal to everyone, it is still a great film. It will, as Pinhead says in one of the most iconic lines in horror history, tear your soul apart.

Opera (1987)

DARIO ARGENTO

OPERA/TERROR AT THE OPERA

ITALY, 1987

8/10

"I am nothing like my mother! Nothing like her!"

While the film is rather flawed, I still have a soft spot for Dario Argento's OPERA (1987), also known as TERROR AT THE OPERA. It was the first Italian and Argento film I had ever seen (I think it might even be the first non-US horror film I have ever seen, but that fact I'm less sure of), and so I still love it and forgive its faults. I believe another factor may be the fact that I'm an absolutely massive PHANTOM OF THE OPERA fan (I love the novel, movie adaptations, and musical, I honestly just adore anything Phantom), and this film did remind me of that story. I mean, it has a mysterious murderous man becoming obsessed with a young opera singer, the rest is pretty different but that basic story-line is still the same. The idea of placing needles under a girl's eyes to force her to watch murders occur in front of her was so sick and twisted that it captivated me. I mean, I'm a horror fan, of course I love anything sick and twisted.

The soundtrack for me was hit and miss. I absolutely adored the opera soundtrack, and I thought that to have something like that featured in a horror film was just so new and so fascinating. Yet the heavy metal just felt completely out of place, and I actually feel it dumbed down the murders. I'd love it if the murders occurred while an opera piece is playing, as I think the beautiful music would provide a wonderful contrast with the horrors occurring on scene. I'd like to get off track for a minute and talk about another film I love, BLACK CHRISTMAS (1974). If you've seen the film, you no doubt remember a scene in which (I will not be using names to not spoil anything) a character opens the door to find a group of young children singing Christmas carols, while another character was being violently murdered within the sorority house. This is one of my favorite scenes from the movie, because cutting to the peaceful group of children, singing songs while the snow falls and then to the horrifying act inside captivated me. I feel, if OPERA got rid of the heavy metal score, the film's rating may have increased to 8.5/10.

Like many other Argento films, the storyline isn't amazing (though, as mentioned earlier, the story in this captivated me), the acting is nothing to write home about, and the dubbing is pretty abysmal, but the colors are beautiful, and in this film there are multiple above-average murder sequences (there is an unforgettable shot involving a peephole in the middle of the movie), and even with all its flaws, OPERA still comes together to form a wonderful, enchanting movie. 

I do believe the final twist ending is slightly unnecessary (I am going to refrain from giving too much information here), but the final shot of Betty, speaking about insects is incredibly crucial to the entire film and ties all of Betty's character development together, despite it seeming weird at first glance, so I forgive what really felt like an afterthought of an ending. 

If anyone has not seen OPERA yet, I would highly recommend it. Another reviewer on IMDb commented this, and I'd like to add that Betty is not a normal girl, and her reactions to the murders are not normal, because of what she's witnessed in the past. If you have not seen it, or disliked it initially, I urge to go back and watch the film, keeping this in mind. I did, and I ended up enjoying the film a lot more. Overall, OPERA is a great film with some setbacks, but I have a soft spot for it, and it is a personal favorite. If you have liked Argento's previous work, I highly recommend it. 

Friday the 13th (1980)

SEAN S. CUNNINGHAM

FRIDAY THE 13TH

USA, 1980

8/10

"Did you know a young boy drowned the year before those two others were killed? The counselors weren't paying any attention... They were making love while that young boy drowned. His name was Jason. I was working the day that it happened. Preparing meals... here. I was the cook. Jason should've been watched. Every minute. He was - he wasn't a very good swimmer. We can go now, dear."

The '80s were a time of horror movies attempting to, basically, recreate John Carpenter's HALLOWEEN (1978). Very few films succeeded, and FRIDAY THE 13TH (1980) is one of the only ones to receive its own franchise and to go on to inspire even more films.

Before continuing, let's get one question answered: is FRIDAY THE 13TH a good, frightening movie? And, to put it bluntly, the answer is no. The acting is (in all cases besides Betsy Palmer's) anywhere around "okay" to "laughable". The screenwriting is elementary. If you're watching an edited for TV version, it's almost not worthwhile to watch. The end chase scene between Betsy Palmer and Adrienne King goes on for far too long. But FRIDAY THE 13TH doesn't set out to be a perfect, thought-out masterpiece. It achieves what it wants to do: keep you on the edge of your seat, keep you (somewhat) frightened, and, (spoiler, even though this is common knowledge today) if you are unaware that Pamela Voorhees is the killer, keep you guessing. And for some this movie does achieve what it sets out to do. Some viewers probably will hesitate before turning off the lights to go to sleep. Many viewers will probably jump, particularly at the end scare, which is, along with Palmer's performance and character, this film's strongest and greatest achievement. In the simplest terms, FRIDAY THE 13TH is entertaining and occasionally creepy. Nothing more, nothing less.

And even though this film doesn't manage to scare as much as many other films in its genre, it (and Part 2 as well) belong on the shelf of any horror film fanatic, because HALLOWEEN and FRIDAY THE 13TH both gave a lot to the genre. Without them, the '80s slasher-fest never would have occurred (whether or not that is the best or worst thing to happen to the genre depends on who you're talking to). Without these films, the "rules" of horror films would never have been eternally set in stone. 

Basically, this film is by no means the best, but it was a very heavy influence on the genre as a whole, and in order to appreciate modern horror films (mainly slashers, but some other sub-genres draw inspiration from this as well), we must first thank FRIDAY THE 13TH.

The Fog (1980)

JOHN CARPENTER

THE FOG

USA, 1980

7.5/10

"I don't know what happened to Antonio Bay tonight. Something came out of the fog and tried to destroy us. In one moment, it vanished. But if this has been anything but a nightmare, and if we don't wake up to find ourselves safe in our beds, it could come again. To the ships at sea who can hear my voice, look across the water, into the darkness. Look for the fog."

This is not John Carpenter's best film in any sense (HALLOWEEN (1978) and THE THING (1982) taking the cake on that title), but THE FOG (1980) is a still a creepy, atmospheric, supernatural horror film that holds up to this day. Carpenter does once again what he was able to do with HALLOWEEN: take a film with a rather small budget (though THE FOG had a larger budget than HALLOWEEN, it was still rather cheap) and give it the appearance of costing a lot more than it did. While the film made 22 million dollars (which is good considering its budget of 1 million), it is not as impressive as the 47 million HALLOWEEN made. Still, I believe THE FOG to be a wonderful film for what it sets out to be: a small, atmospheric film, relying more on the tone of the film than any impressive special effects. This is why Carpenter is my favorite horror director. Sure, his plots are never life changing, and besides THE THING, his films are never filled with spectacular effects, but he manages to create wonderfully atmospheric films and has proved to be the best when it comes to slowly building tension.

And this film is no exception. From the opening scene on the beach to the final shot, this film kept me on the edge of my seat, although I believe the film really takes off when Father Malone reads from the journal he finds. 

We never clearly see the creatures in the fog, which I believe adds to their threat. Their glowing eyes, hooks, and large, threatening bodies help their mystery. The fog they enter through in, though its glow is incredibly unrealistic and fake-looking, it is still quite eerie and allows for a lot of tension. 

Overall, the character development and plot is missing in this film, but it's still creepy, atmospheric, and a personal favorite. If you forgive its mistakes, you will be in for a nice, fun, creepy film.