When the original movie was released in 1978, it showed explicit death scenes and was banned, at least temporarily, in several countries. While the snuff film entered the domain of urban legend, it later was revealed that the human component and some of the animal scenes were faked, and the move became one of the decade’s great hoaxes. The movie, which featured a narrator named Dr. Francis B. Gross, went on to become a cult film and spawned five sequels.
Haunted Temple is a Japanese-style horror feature reminiscent of The Ring and The Grudge. Producers are keeping details about the script under wraps.
WOW. Here’s a really cool news break that came flying out of left field.
Burrowers and Hellbenders filmmaker J.T. Petty just e-mailed with news that his 2001 feature Soft for Digging is finally available to own – online.
In his breakthrough feature, a man wanders into the woods in search of his cat and witnesses a murder.
It’s incredibly popular in the horror world, so if you haven’t seen it yet, it’s now available for streaming or download via VHX. You can read the details in this cute letter Petty sent to his mother.
Dig it (pun intended) below. READ MORE
Burrowers director JT Petty returns to Midnight Madness with Hellbenders, a truly entertaining horror comedy that may have been a bit too ambitious. While filled with laughs, and some incredible creature effects, ultimately it’s a bit fragmented from what feels like budgetary constraints.
The first act of Hellbenders is incredibly strong as Petty introduces the viewer to the motley crew of modern exorcists. In short, this collection of men and women are supposed to sin as much as possible in order to deliver demons back to hell. The idea is that if they get possessed, they can commit suicide and drag the demons down to Hell with them. Hence, the audience is blasted with profanity as they watch an array of disturbing acts and consistent verbal abuse. Watching a bunch of ordained priests act like jerks in absolutely hilarious, but what makes this work is that the audience knows they’re “good people” at heart. Likability is extremely important it making Hellbenders an entertaining flick. Clancy Brown reunites with Petty and delivers quite a standout performance as the drunken leader. Unfortunately, Dan Fogler – who I absolutely love – was underused, and barely even had a reason to be in the film.
Once acclimated to the group, a few of them are sent off to handle a new case, one that ends in disaster. This is the pinnacle of Hellbenders as it taps into to the vein of The Evil Dead and Ghostbusters with its sound design, humor, scares, and FX work. It’s a haunting moment that sets the bar so high that the rest of the film struggles to reach the same level.
From here on out much of the second act is muddled with exposition and a subplot where the new Pope has shut down their division. The final moments, while enjoyable, felt the choking sensation of budgetary constraints. The audience is teased that the gates of Hell are to be opened, but by the time the gang arrives, all of the chaos has already erupted; it’s a bit frustrating, as the viewer deserves to see the madness occur.
Hellbenders is highly ambitious filmmaking that works just enough to make it worth a view. There are quite a few gut busting laughs, creative scares, and even more gore for the horror junkie. Unfortunately, it just runs out of steam by the finale.
S&MAN is a movie about voyeurism and underground horror, focusing on our balance of sympathy and sadism when we watch death. JT Petty, a filmmaker responsible for his own underground horror films, tracks down and interviews psychologists, scholars, actors, and most importantly—the underground and extreme filmmakers themselves.
Horror, S&MAN posits, is a specific pleasure: the more we suffer in watching it, the better. We want horror movies to hurt us. S&MAN explores and exercises that idea, asking why we are compelled to watch, and more than that, why we like it.
The brains of S&MAN are structured around interviews with a horror scholar, a sexologist, and a forensic psychiatrist, who describe for us the connections between voyeurism, culture, and sadistic watching. The heart of the film, however, comes from the filmmakers who choose horror as their specialty. Through interviews, on-set filming, and home visits, JT and his crew are pulled deeper into the world of underground horror.
The film scrutinizes subjects who are, if not outright liars, at least intent on blurring the line between themselves and the movies they make.
Boundaries are crossed: between filmmaker and subject, witness and participant, reality and fiction. The movie hones in on the topic of violence and sadistic watching, boiling it down to a discussion about snuff, about real murder on film, and the audience who’s watching.
After a family is brutally murdered in their home, a group of ranchers and infantry men embark on a crusade to find the killers. When a mysterious killer attacks their ranks, they discover that carnivorous creatures are hiding beneath the surface of the earth waiting to feed on their flesh.
A man enclosed in a plastic bubble, his sister, and their best friend must defend an apartment complex from the mutant Judas Breed insects.
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