Tag Archives: horror

LA Horror Behead-itorial: Real Life Horror

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Maybe it’s just me, but doesn’t it feel like there’s been a lot of seemingly unnecessary and frightening carnage happening in our world recently?  It seems like every day we are hearing about another shooting, stabbing, bombing or general loss of innocence and life to people all over the world.  And while it may feel like these tragedies happen in waves, they don’t.  They’re happening all of the time and really always have been.  Whether or not it’s in our nature to inflict pain is debatable, but the fact that we are fascinated, intrigued, curious and reflective of our ability to do so is not.  Why else would people create grisly works of art?  Why else would we create an entire genre dedicated to fear?  And often pain?  And often violence?

My fascination of horror probably began when yours did – as a very young child.  The first films that truly inspired me, or rather the first character that I ever felt I could relate to, was Godzilla.  Okay, that may seem a little silly, but as I child I would watch that radioactive monster destroying (or protecting) Tokyo and I’d be right there with him, blasting my radioactive breath all over my building blocks and imagining the shrieks of innocent civilians caught in my path.  This is taking me back…

I’m getting carried away.  Obviously, I’m much older now but throughout my years my love of fictional carnage has only grown, and now I get giddy at the thought of watching another helpless person cower in fear or fight for their life against a ruthless killer.  Or ghost.  Or monster.  Or alien.  It doesn’t matter; the seed was planted and it grew, but only relatively recently I began to think about how the real world is the original seed, the inspiration for these things I love so dearly.  It begs the age-old question:  does life imitate art or does art imitate life?

Everything worthwhile in this world has a price, and horror is no exception.  Some of the most intriguing and entertaining horror has its roots in suffering.  Without Ed Gein, we’d have no Texas Chainsaw Massacre, or Psycho, or countless other classic works of terror.  Think about all of the art that was inspired by real life slashers Ted Bundy or Jack the Ripper. Hell, even Godzilla wouldn’t exist had we not dropped nuclear bombs on Japan.  Horror is our real world fears manifested in our imaginations, and even the silliest horror or the campiest project has it’s roots in real life horror.

slumber_party_massacre

And maybe that’s why it’s so alluring.  We watch these images of horror, listen to sounds of suffering and dream of mass destruction because it gives us fear, and reminds us that we could be next at any moment.  After all, we’re all going to die someday and rarely do people have any say in how they go.  And in a world full of real life horror, it will catch up with some people.  So enjoy it while you can, horror lovers, because before you know it you could be next…

Be safe out there, and thanks for checking out LAHorror.com.

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LA Horror Review: “Dead Inside”

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419008_373211466037474_898293181_n“Dead Inside” is an interesting little horror film with a fresh perspective and a brooding sense of atmosphere. This happens to be the film’s strong suit as it more than compliments the film’s jump scares. Often, it overshadows them. The film centers on a group of party-goers haunted by their impending doom and provides a healthy dose of supernatural goings-on while maintaining an overall ambiguity.

The film introduces Sarah (Hannah Ward AKA Lala Hensely), a quiet girl raging war with her inner demons. When those demons come to light, bad things happen. There are a few good ideas here and a few questionable ones, but all in all, the film just does things differently. Popular high school students crash Sarah’s house expecting a party and she timidly agrees to play host. The setup is seemingly “outcast versus the world,” but much of the scorn and bullying associated with this dynamic is substituted for indifference and, occasionally, sympathy. It’s a pleasant turn from the norm.

While the characters are treated to a decent amount of development, the soap opera dramatics to which the film often deviates take “Dead Inside” down a notch. The actors handle the material well, though, and Lala Hensely is superb as Sarah. It may not be a showcase of her range, but what she does deliver is genuine. There is a standout moment on a staircase where she turns to her friends and shares an ominous message. It is terrifically creepy and a highlight of the film.

Another interesting layer to this film is its refusal to designate a threat. There is most certainly a threat present, but it is tantalizingly mysterious. Any sense of villainy is juggled between all characters and the supernatural aspects of the story are kept in the dark. I mean that literally and metaphorically, but it is the former that may actually work against the film.

Sarah has some serious issues in “Dead Inside…”

“Dead Inside” is shot well throughout and makes expert use of shadows and silhouettes. It is a dark vision and a justified representation of Sarah’s dismal outlook. However, it is at times too dark. On a practical level, a few key shots are so underexposed that they obscure all information. However, it is not without its qualities. Director Pearry Teo carefully treads a line that aims to only hint at things unseen. It may not always be the perfect execution but it is always scary. After all, that is the wonderful, alluring thing about the dark.

Teo has a good eye for creepiness and an acute handle on suspense. The soundtrack is minimal but effective, especially the soft lullaby that opens the film and revisits us throughout. With elements of “Carrie” and “Identity,” this film is a slow burner worth seeking out. If you’re looking for an eerie supernatural drama or if you have any appreciation for dark irony, “Dead Inside” is for you.

For more information about “Dead Inside,” please visit the films official website.  Also, be sure to check out “Dead Inside” on Facebook.  This review was written by Levi Caleb Smith.

LA Horror Review: “The Employer”

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Finding a job these days is tough, especially one that actually pays the bills. The search could even be described as a “true horror story” for some; even if you do land an interview, often you can get beat out by a more qualified candidate.  Frank Merle, the writer and director of the new horror thriller, “The Employer,” takes this idea to a whole new level: in this interview, you either get the job or die…

It’s a now classic set-up.  Five strangers wake up in a locked room.  Before long, they realize they have something in common: they have all recently interviewed for a position at the mysterious Carcharias Corporation, and today is supposed to be their final interview. Unbeknownst to them, The Employer (Malcolm McDowell) has a very sinister way of choosing the perfect candidate for the job.  You see, at Carcharias Corporation, having a well-rounded resume is only half the battle.  What’s the other half? It’s killing the competition before they kill you first.  Last one standing gets the job of their dreams…

The great part about a film like “The Employer” is that it takes a familiar premise and gives it its own unique and rather intelligent spin.  Yes, pitting people against each other in a locked room has created some pretty grisly horror films, but “The Employer” isn’t about the gore; it’s about the characters.  Merle creates a group of very fleshed out young professionals who have every reason in the world to try to get ahead.  It’s more fun to get to know the characters first before they’re brutally murdered as opposed to watching strangers get hacked up; it makes for a much more satisfying viewing experience.

But while Merle crafts characters who are undoubtedly justified in their reasons to despise each other, he also brings out strong performances by five very talented actors. The scenarios he sets up for these interviewees are amplified by their terrific performances.  Everyone brings something to the table, and everyone has a secret.

James, played by David Dastmalchian, is our Everyman and is wonderfully naïve and hopeful that in this terrifying scenario maybe, just maybe, nobody has to die.  It really feels like at any moment Dastmalchian could break out and become a recognizable face for frequent moviegoers, and a film like “The Employer” certainly allows him to show some great range.  Opposite him is the beautiful Paige Howard who plays the kind and caring Sandra.  It’s hard not to root for these two; their chemistry is strong, especially when the going gets tough.

Mike (Matthew Willig) tries to silence the trash talking Keith (Michael DeLorenzo) much to the horror of the level headed Sandra (Paige Howard)

Juxtaposed against this optimistic, seemingly level-headed pair are our other three captives: the sexy and ass-kicking Billie (Katerina Mikailenko), the bruising and massive Mike (Matthew Willig) and the loudmouth Kieth (Michael DeLorenzo).  Five very different people in one nightmarish interview, “The Employer” creates a tense and unnerving experience that gets to be a real free for all with plenty of twists to keep you guessing who’s going to get the job.

Which brings us to our last and most important piece of this puzzle: The Employer himself, Malcolm McDowell.  As the puppet master of this whole scheme, it’s extremely fun to see The Employer get inside of the heads of these characters and find out exactly what makes them tick.  It’s always fun to see McDowell play a bad guy, but in “The Employer” he’s even more dementedly charming than usual.  Every time McDowell is on the screen he steals the show, which is understandable given his ultra-talent.  He embodies the mission of the Carcharias Corporation and adds a level of mystery and intrigue that we can only hope for a sequel (or two) to expand upon.

Only The Employer knows the secrets of the Carcharias Corporation…

And maybe that’s the real reason this movie was so enjoyable: the fact that it asks more questions than it answers.  While Merle’s intentions for making this film are unknown, “The Employer” raises a lot of questions not only about its own reality but also our own, and frequently plays with moral questions that we deal with on a daily basis.  How often do we see people doing anything to get ahead of the competition, or a massive corporation treating its employees like pawns in its own sinister game?  Merle has created a film that is modern, violent and full of nasty twists, “The Employer” grabs you and won’t let you go.

Lastly I’ll leave you with this, the same thing that Merle told me before I watched the movie and the thing that probably intrigued me the most:  at the end, only one person walks out of that room alive…

Be sure to watch our exclusive interview with filmmaker Frank Merle.  For more about Frank Merle and “The Employer,” visit the film’s official website.  Be sure to check out “The Employer” on Facebook.

LA Horror Review: “The Cohasset Snuff Film”

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Does life imitate art or does art imitate life?  It’s a tricky question, especially when you apply it to the world of horror, given all of the atrocities that happen on a daily basis all over the world.  Director Edward Payson‘s “The Cohasset Snuff Film” blends the fictional world and the real world together, giving us an up close and personal look into the mind of a serial killer in a chilling way.  At times, it’s hard to determine if what you are watching is real or merely the fantasy of a couple of disturbed but talented filmmakers.

“The Cohasset Snuff Film” is real, or so they say.  The film begins with a pair of documentarians as they uncover the secret tapes of Cohasset, Massachusettes best kept secret:  serial killer Colin Mason.  You see, Mason killed three girls in 2009 and had the good sense to get it all on camera.  In a quest for infamy, Mason compiles a series of video diaries plotting, and executing, his plans for inflicting pain and torture.  Now you can see the footage for yourself in every horrifying detail.

This film is a tender reminder of just how fucked up this world really is.  With murder sprees and serial killers seemingly popping up all the time these days, this film feels relevant.  And this is certainly one that will attract the morbid curiosity of both experienced and novice horror viewers.  And when I say novice, I mean the kinda of kids that sneak horror movies into their slumber parties, that watch them when their parents aren’t watching or don’t know.  I say that because the killer in this film is in high school, and what sort of normal adolescent hasn’t fantasized about murder at one time or another?  This film will no doubt be a dirty little secret for many viewers.

But while the idea of this movie hits close to home, our lead character is a little harder to sympathize with.  I always like rooting for a killer.  It’s fun and makes you feel a little guilty.  Yet, the one thing I felt was missing from this film was a strong motive for this killing spree, but that doesn’t mean it isn’t there.  Colin Mason is obviously resentful of his fellow humans for the typical reasons – being ignored, abused and picked on, however we never really see any of that on film.  While we do learn about the human side of our killer through classmate interviews, psychology studies and the police reports, the face to face time with Mason is long past his days of being “normal.”  It’s less of a descent into madness as it is being just thrown into the mix right before shit goes down—and shit does go down.

The great thing about “The Cohasset Snuff Film” is its raw intensity.  There are no jump scares or cheesy twists.  This film is grounded in reality and the murders are real.  Some mad props go to these actors who certainly had trust in director Edward Payson and believed in this project.  Their trust will no doubt be rewarded as this film will certainly be getting some pretty big attention in the near future.  I say that with no hesitation, because this film has all of the right pieces to be an underground hit.

On a hilarious side note, supposedly some people in Cohasset, Massachusettes are pretty upset that this film has been made.  Now, why they are upset is up for debate.  Maybe they don’t want their town to have a bad reputation, or maybe they just don’t want to be associated with something as nasty as “The Cohasset Snuff Film.”  Or maybe, just maybe, there’s a little more truth to this film than originally thought.  That’s why I recommend you check it out and decide for yourself.

If you are living in the Los Angeles area, the world premier of “The Cohasset Snuff Film” is fittingly this Halloween in North Hollywood.  You can purchase your ticket here.  If you’re not in the Los Angeles area, the film is beginning a self distributed theatrical run in limited cities.  If you want to see this film in your area, then visit this page and demand to see “The Cohasset Snuff Film!”

LAHorror.com has previously interviewed director Edward Payson about this film and other horror projects.  You can read that here.  Be sure to check out “The Cohasset Snuff Film” on Facebook and Twitter. 

The Rhythm is Gonna Get You………

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We had to share this – this is a pretty good spoof on the classic song “The Rhythm is Gonna Get You” by Gloria Estefan.  Don’t know it??  Check it here.  But for all of you gore hounds that love and adore and cherish and appreciate the amazing music by Gloria Estefan as much as we do here at LAHorror.com, you’ll certainly enjoy this:

That rhythm got you didn’t it??

Check out more from Grumpy Panda at their official website.

LA Horror Review: “Revenant”

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Curiosity can be a dangerous thing.  It’s the cause of many problems for people in horror films and something that can ultimately become deadly.  How often do we see someone investigate a strange noise, pursue a forbidden curse or, in the case of “Revenant,” the new film from 2 Man Production, knowingly invite themselves into the home of a malevolent spirit?

Paul Anderson (Stephen Twardokus) is an aspiring writer who’s trying to get it together.  You see, Paul has never finished anything he’s set out to do, and with his new idea he’s more determined than ever.  Unfortunately for him and his girlfriend, Stella (Liesel Kopp), his new idea involves moving into the home of a recently murdered family and trying to communicate with its restless spirits.  Before long, both Paul and Stella realize that they are not alone and certainly not welcome…

The set up for “Revenant” is simple, but the execution is fantastic.  What filmmakers Derek Cole (director, producer), Stephen Twardokus (producer, writer, actor) and Jon Gale (producer, actor) have done is create a bare bones story that still manages to scare the piss out of you with a “less is more” mentality.  Wait, I take that back— “less is more” may not be an accurate way to describe this movie, because it is FULL of legitimate scares.  From your classic jumps to your slow, sinister sequences, “Revenant” keeps you on edge from the very first scene until the last.  It’s tense as hell and doesn’t let up.

What works about this film is its overall creativity in the things seen on screen.  As a filmmaker myself, I was perplexed as to how these guys pulled off some of these sequences.  There are no CGI ghosts in this movie, and the practical effects are ridiculous and always frightening.  From the spirit rising out of the bed sheets to an entire kitchen erupting in rage, the ingenuity behind the camera is this film’s most impressive feat.

Paul Anderson (Twardokus) has a naïve curiosity with the spirits in his house…

Yet, all of the horror elements in “Revenant” are amplified by Cole’s stellar direction.  His choices to make slow zooms, subtle camera movements and some clever editing always keep you in anticipation.  Every scene has the ability to give you frights and, trust me, most of them do.  Cole is clearly well-versed in the art of suspense, and fans of classic ghost stories such as “The Haunting” or “Poltergeist” would certainly enjoy “Revenant.”

While this film is exceptional in terms of the talent behind the camera, without good performances all may be for not.  Luckily for “Revenant,” it’s cast, though small, all pull their weight and add to the overall success of the film.  In particular, our leading man Twardokus plays the over-curious writer believably, and you can clearly see the shift in him when he realizes that he’s in far over his head in this house.  Liesel Kopp as Stella is the most relatable of the characters, given the fact that she is the rational of the two and is far more afraid of these spirits than her boyfriend.  Kopp really shines when things get rough.  Her panic and fear are felt through the screen.

“Revenant” is damn scary, and that’s no joke.  My advice to you if you get the opportunity to watch it:  give this movie the respect it deserves.  That means phone off, lights off, popcorn and a beer.

For more information about “Revenant,” please visit the films official website.  You can also check out “Revenant” on Facebook and Twitter.  Actress Liesel Kopp was LAHorror.com‘s first featured artist.  You can view her story here.

LA Horror Review: “Lesser Miracles”

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Horror comes in all sorts of varieties.  There’s monsters, aliens, slashers, zombies and more – each thing uniquely terrifying in its own way.  However, in Rory Walsh’s film “Lesser Miracles,” horror hits home in a very real way as we slowly see the family structure fall apart with shocking and violent results.

Riley Carpenter (Kathryn Lyn) loves her family.  She has a beautiful baby daughter, a caring husband and frequently visits her mother.  However, after a freak car accident, everything begins to change.  With the presence of an internal demon awakened inside of Riley, she suddenly has a broader view of the world around her and finds out that things may not be as good as they seem.

It’s the descent into madness, the destruction of the family structure that fuels the horror in “Lesser Miracles,” and it’s one of those films where you can’t help but feel bad for every single character at one point or another.  There are no villains in this film; it is more of a series of tragic mistakes that ultimately build up into a terrifying conclusion, and everybody pays the price.

Writer/director/editor Rory Walsh certainly assembled a stellar team to pull this off.  The talent both on screen and off is abundant with unbelievable performances all around.  In particular, the trio of leads are dynamic.  Kathryn Lyn plays the disturbed Riley with a subtle edge that gets sharper as the film goes on.   She is a terrific leading lady, and with a performance like this we certainly hope to see more insanity from her in the horror world. Opposite her, Cameron Bender plays husband Morgan with genuine heart and sincerity.   The chemistry of these two is wonderful.  The wild card is Haley Mancini who plays the other woman, Denise Baker.  Mancini is brilliant as the seductive yet insecure Denise and really steals the show.  There are several moments in her performance where I really felt a sinking in my heart.

On the other side of the camera, Walsh gives us a simple yet excellent story that is masterfully crafted.  Along with beautiful cinematography from Terrance Stewart, an absolutely haunting soundtrack and some pretty impressive use of scenery, this film sets the bar for indie filmmakers pretty high.

“Lesser Miracles” is one of those films that is disturbing and heavy, a powerful piece of work that sticks with you long after you’re done watching.  This film is more moving than it is scary and the ending packs a certain punch that most films wouldn’t dare swing.  It’s unique in the sense that while it does have some brutality, the real horror is in the downfall of these poor souls.  You can’t help but watch and pray that everyone will be all right, that everything will work out in the end and that these people can continue with their lives in peace.  But sadly, that simply isn’t the case.  This is horror, and if there’s any lesson that “Lesser Miracles” can teach us about horror, it’s that nobody is safe and that not all miracles are the good ones.

For more information on “Lesser Miracles,” please visit Rory Walsh’s official website.  Also, check out the film on Facebook.  ”Lesser Miracles” is currently playing at film festivals.

LA Horror Review: “Desolation Wilderness”

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“Desolation Wilderness” follows two friends as they seek inspiration outside the academic institutions they find so restrictive. Their experiences, rewarding at first, become increasingly battered by influences beyond their escape. The film praises art and the creative, lecturing that one must shun popular art and contemporary means in favor of engaging the naturally inspired sanctuaries of the world around you. It is a philosophy applied to and promoted within the film. Robby Massey and Derek Mungor comprise the creative team on both sides of the camera in this effective art house horror.

The film opens on the road, with our main characters Noah (Massey) and Russell (Mungor) engaging in small talk, pit stops and farewells to the big city. Their destination and intentions are not immediately clear, but it is these questions, along with their natural dynamic, that make for an enjoyable, albeit wandering, beginning. We are granted a mild sense of unease generated by the mystery of their actions and the peculiarity of their interactions. At a grocery store, they encounter a cashier seemingly automated in his responses. It is the introduction of atypical and it’s a big part of this film.

Desolation Wilderness – Final Trailer from Desolation Wilderness on Vimeo.

The remainder of “Desolation Wilderness” pays full respects to its title. Far removed from the distractions of city life, the characters eat, sleep, work and play while their perceptions of reality begin to fail. Increasingly odd behavior between the two builds to a wholly maddening climax. And therein lies the horror. While much of the film is seemingly mundane, slice of life type cinema, it is peppered with just enough weirdness to nurture a curious anticipation of things to come.

The film is beautifully shot and rendered predominantly in black and white. Sound design could be called minimalist, sometimes intriguingly selective. It bows out several times throughout the film in favor of mimed actions and dialogue. By the end, it has evolved into a series of drones that carry the viewer through a Lynchian sequence of images that are as gripping as they are perplexing. The camera, direction and pacing contribute to the roving feel of the entire film, along with the oft-employed montage. What initially strikes you as a presentation of happenstance in the most carefree of ways slowly descends into a surrealist nightmare punctuated with folk music videos. It is a unique film and it’s definitely not for everyone.

Massey and Mungor turn in authentic performances with natural and spontaneous dialogue that can be credited to finely executed improvisation. In the film’s more bizarre moments, all communication is prolonged with heavy use of dramatic pause. It is out of the ordinary, but not out of place, and helps achieve that which too few films strive for: to be disturbing without being grotesque.

“Desolation Wilderness” is an oddity. As a film, as a horror film and as art, it has few defining features, endless interpretations and a seldom seen composition of patterns, images and feelings uniting for a whole that is not easily defined by genre or category. It is engaging, disorienting and scary. Although not a horror film in the traditional sense, it is very much so in the emotional sense. It elicits uncomfortable feelings from its alarming use of imagery, close quarters, the unexplained and a generally off kilter presentation of the world. It is intentionally ambiguous and encouragingly subjective. Want though we may, we are not provided a Rod Serling epilogue to ease our minds. If you’re in the mood for a dark, psychological film that, without any sense of urgency, somehow manages to feel oppressive, this is a unique outing. “Desolation Wilderness” invites as much consideration as you can spare long after the credits roll.

“Desolation Wilderness” will be available via a self-released DVD soon.  Please follow this film on Twitter @enterdesolation.  You can also check out the film’s official website.  This review was written by Levi Caleb Smith.

LA Horror Review: “The Los Angeles Ripper”

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Los Angeles has been home to some of the most prolific serial killers in American history.  There was, of course, the night stalker, the hillside strangler, the freeway killer and now another, Craig McIntyre’s “The Los Angeles Ripper.”

Kristy (Celeste Martinez) is an aspiring singer who has just arrived in Los Angeles for a fresh start in life.  Living with her lazy cousin and horror fanatic Aunt, things are looking up for Kristy as she makes new friends and begins to take singing lessons.  However, drug dealer Grahm (Randy Tobin), The Los Angeles Ripper, has other plans for poor Kristy.  You see, Grahm likes to torture, rape and murder young women, and he’s damn good at it…

“The Los Angles Ripper” starts with a bang and ends with a bang, take that how you will.  From the very first scene of the film, you know what you are signing up for:  a low budget, gritty serial killer story with a director unafraid to show you the good stuff.  And what else would you expect from a movie called “The Los Angeles Ripper?”  While the body count isn’t necessarily the highest, when Grahm does reveal his sinister intentions to his victims, the intimacy of the filmmaking makes for a quite unnerving experience.  The camera is always no more than a foot away from the victim, often in a cramped room or a van, and catches every grueling detail of the torment of the victims.  The style is reminiscent of the ultra gory 70s exploitation flicks, with a little dab of some zombie feasting as well.  McIntyre is clearly well versed in the horror genre.

The problem with this film is not in the kills, however, but in the killer himself.  No doubt Tobin is a talented actor, and his character is quite memorable but also kind of a…well…a douche bag.  He’s the guy who’s at the party that you didn’t really invite.  He’s the drug dealer that insists that you hang out with him when you only want your fix.  He’s the guy at the bar that just doesn’t catch a hint.  No means no, Grahm…well, kind of.  At times his awkwardness is hard to watch, but when he starts to turn into the Ripper, it’s night and day.  The douche becomes a monster and that’s when the performance really takes off.

The main meat of the story is when Grahm meets, and ultimately becomes obsessed with, Kristy.  He brazenly stalks her, is constantly showing up wherever she goes and ultimately puts her in a rough spot near the end of the film.  Their chemistry is awkward, but that’s exactly how it’s supposed to be, so in that regard, it works.  The supporting cast behind these two is also quite enjoyable, in particular a couple of characters that show up to Kristy’s music lessons add a light hearted break to the carnage in this film.

Indie horror fans should appreciate this film, especially ones in the Los Angeles area.  It does give you a feel for this city and there are some moments that legitimately made me cringe.  While the film isn’t necessarily as deep as it could have been, the gore is intense and the soundtrack is excellent.  The final shot of the film is also one that will stick with you, a serious gut-wrencher.  I’m a huge fan of serial killer films, and while “The Los Angeles Ripper” isn’t necessarily the scariest, it certainly is worth a look for indie horror lovers and newbies to LA.  So go get ripped already.

Be sure to check out “The Los Angeles Ripper” on Facebook and twitter.

LA Horror Presents: “Teddy”

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Who doesn’t enjoy a quick slasher flick?  Call me sadistic, but nothing cheers me up more than cramming a whole bunch of death in a real short amount of time – something that Slasher Studios‘ short film, “Teddy,” has no problem doing at all.

The set up is classic: a group of friends having a party weekend when things start to go horribly wrong.  Not only do they accidentally run over an old man on their way to the woods, but they then find themselves being stalked by the old man’s demented stuffed bear wielding son, Teddy.  Needless to say, things don’t work out too well for these fun loving teens.

What makes “Teddy” so enjoyable is its rapid fire pace.  An 11-minute run time is really not a lot, yet “Teddy” manages to establish motive for the title killer, introduce our victims, give us a blood splattering car crash, slam about 20 beers, show a pretty raunchy sex scene, as well as multiple murders that even Jason himself would be proud of.  Let me just say this without giving away too much:  nobody’s ass is safe in this movie.  Don’t believe me?  Well see for yourself…

Well, was it too scary to…bear?  What I love about this piece is our killer.  Much like the horror classics we know and love, Teddy is mysterious and could probably use a feature or two to really get to the bottom of his troubles.  I mean, who is this guy and what’s with his demented bear?  It’s eerie and unsettling, and while the mystery makes the story stronger, my morbid curiosity would love to learn more.  While it works as a short, it easily has all the pieces to grow into a much larger project.

That being said, mad props goes to filmmakers Kevin Sommerfield and Steve Goltz.  Slashers are always great fun and it’s always exciting to see new disturbing characters and deaths thrown into the world of horror.  Who knows, a couple years down the road maybe we’ll get to see some more of Teddy, but until then?  Well, bust open a PBR and keep partying…

Please be sure to check out “Teddy” on Facebook, as well as SlasherStudios.com on Facebook.  Also follow SlasherStudios.com on Twitter.