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Everything You Need to See and Know Before You Watch ‘Subspecies V’ on SCREAMBOX

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As a fan, I cannot believe that Subspecies V: Bloodrise has finally arrived after twenty-five years. The movie was first promised only a few years after the release of Subspecies 4: Bloodstorm. I remember being a preteen on the Internet, on Full Moon’s original website, when the announcement of a new Subspecies, a prequel that would tell Radu’s origin down through the centuries, first hit. I hadn’t even seen any of the sequels yet, and I was still absolutely thrilled. Then nothing came of it. Full Moon became a smaller and smaller company, spending much of the early 2000s as Shadow Entertainment, the smallest scale era of the studio to date, before bouncing back by the end of the decade. But the budgets over time have still been much, much smaller than they had been in the ‘90s, when those first four Subspecies films were made. Given the fact that those movies were filmed in Romania, requiring much more location work than the average Full Moon effort, it often felt more than a little unlikely that the hopeful fifth entry would ever come to pass.

And yet, now it’s here. The biggest miracle of all, though, is that it appears to be almost the exact film it was always going to be, that same prequel conceived and written in the early 2000s is the movie we got. The fact that Ted Nicolaou not only got to make this movie, but to specifically make the film he always envisioned—with some degree of budgetary compromises, I’m sure—is worth celebrating all on its own. The fact that the movie is as good as it is, that’s more than this particular fan had ever dared ask for.

However, given the fact that it’s been twenty-five years since the last installment in the Subspecies saga, it’s reasonable to think viewers are going to need a bit of a refresher course. That’s why I’m here to walk you through what you probably should know and what you’ll likely want to see before you sit down to check out Subspecies V: Bloodrise on SCREAMBOX.

Full disclosure, though, Subspecies V is a prequel. It is set before any of the other movies occur, and thus, you will probably be able to follow along just fine. If you want to jump right in, the movie explains itself well, and you will not be lost. However, there is a whole other level of understanding and enjoyment to be gained from watching through the saga so far before viewing the new film. Each movie is reflected somewhat, each one brings in a character whose origins are first glimpsed here, which informs each of their characters in the present. This is especially true for Radu himself. Watching the previous entries before watching his origin unfold in Subspecies V will allow for such a deeper understanding of him, and I think will also subvert your perceptions of him, and why he is the way that he is, or at least the way he has been depicted through the previous installments.

So let’s walk our way through the series and bring ourselves up to date.


subspecies

Subspecies

Obviously, there’s no better place to start than the original. This is where we are introduced to the evil vampire Radu, his noble half-brother Stefan, the peaceful Vampire King Vladislas, our heroine Michelle, who is a grad student studying local Transylvanian folklore, and the bloodstone, a relic that drips the blood of saints, a perpetual source of life for the undead. With Subspecies V in mind, pay particular attention to the backstory given in this first movie, to the events that are described and especially the supposed heroes and villains of that story, as it might not be exactly what happened—or at the very least, the events of the past are much more complicated than we had initially been led to believe.


Bloodstone: Subspecies II

In some ways, the Subspecies series became Full Moon’s Phantasm, with each new installment feeling more like a chapter in a book than a true sequel in its own right. Subspecies II picks up immediately where the last one left off, and even though it recasts protagonist Michelle, there are lead actors from here on out that carry through the rest of the franchise. Denice Duff is Michelle for the rest of the series. She is that character in the eyes of the fans, and for good reason.

In this sequel, Michelle struggles to adapt to her newfound vampirism while her sister Becky tries, and ultimately fails, to help her. Radu tries to take Michelle under his wing, but his mother, the sorceress who seduced the King to sire her monstrous son, insists he should kill the girl instead of wasting his time on her. Radu’s rotting corpse of a mother, nicknamed “Mummy” is the character to watch in this entry in terms of preparation for Subspecies V. She is integral to the lore, but had only been spoken of briefly in the original. Here, she appears in all her demented glory. Given how integral she is to Radu’s origin, having literally birthed him, you’d be correct to assume she shows up in Subspecies V. Witnessing those events unfold, seeing the dawn of the unique relationship between mother and son—bickering and supportive at the same time—is certainly enlightening.


subspecies iii

Bloodlust: Subspecies III

At this point, you should watch Subspecies III primarily because you watched Subspecies II. The two films were shot back-to-back, and while they stand on their own a little more comfortably than Puppet Master 4 and 5 (which are truly one movie split into two parts) this one certainly feels like a proper finale to the previous. Still, there are things to look for in Subspecies III that do provide a greater context for Subspecies V. This is where the cracks in Radu’s hardened, monstrous persona truly start to show. He’s still evil and cruel, but in the previous entry, he was insistent that he would kill Michelle to get the bloodstone back, because it’s all he wanted.

At this point, they’ve spent more time together, and he can’t really fool her anymore. He wants Michelle by his side, and more than that, he wants her to want to be there, and he’s longing for something he simply can’t have. As you’ll be able to see in the new installment, that might simply be one of the defining traits of his character, right from the very beginning. The scene between Radu and Michelle, talking outside and almost playing chicken with the oncoming dawn, in which Michelle brings up forgiveness and Radu replies that there is not enough forgiveness in the world for the things he has done, is a highlight of not only this movie but the entire franchise as a whole. Pay attention to that shot of the two of them, which is one of if not the most common images you’ll see from the series online, because that shot is very cleverly inverted in the new film.


Vampire Journals

And now for something completely different—literally. Vampire Journals is not a Subspecies sequel and it features no returning characters, so you’re probably wondering why it’s included here. Well, it’s as essential as anything else on this list, believe it or not, for reasons that will become obvious later on. This is a totally new vampire film from Ted Nicolaou, three years after the end of what was then considered the Subspecies trilogy, once again shooting in Romania albeit in a very tumultuous time for Full Moon, and once again utilizing locations and cinematography to make the most visually captivating film of that late ‘90s Full Moon era. Vampire Journals is clearly connected to Subspecies. The vampire lore is the same and there are references made to those characters, but it nonetheless stands on its own.

If Subspecies was Nicolaou’s Nosferatu then Vampire Journals is absolutely his Interview With the Vampire. This is a poetic, romantic movie about eternal loneliness and longing on a direct-to-video budget, so different in that both its heroes and villains appear equally miserable, yearning to experience life. The biggest takeaway from Vampire Journals is its central antagonist, Ash, a character who becomes just as important to the Subspecies legacy as to his own movie.


Subspecies 4: Bloodstorm

A year after Vampire Journals, Nicolaou returned to the Subspecies franchise for a sequel that also serves as a sequel to the other vampire film as well. Ash is brought back into the fold, depicted this time as Radu’s fledgling, who Radu comes to for financial support more than anything. It’s interesting to see Ash here, so begrudgingly subservient to Radu, highlighting the notion that everyone is afraid of something, everyone serves a higher master. In his own movie, Ash was the vampire everyone else was afraid of. He was wealthy and powerful, and in this film, the moment Radu shows up he claims all of that for himself—essentially leaving Ash with nothing and there’s nothing he can do about it, because to dispute it would be to go against his master. Ash’s own, opportunistic fledgling Serena only seeks to stoke the fires and widen the divide between Ash and Radu. Admittedly, Subspecies 4 is the movie in the saga that hides its budget the least, but there are still many positives in terms of the story, especially as a conclusion to the present day saga of Radu and Michelle.

In this entry, Michelle seeks to find a cure for her vampirism as she starts to find it harder to grasp the notion of spending eternity either alone or as Radu’s fledgling. Once again, this is also worth watching for Ash’s continued development. You will see that character again in Subspecies V. While the new movie’s primary focus is in being an origin for Radu, it also depicts the origin of Ash, as well as his sister, Ariel. There are fascinating parallels to be made between the two vampires in their respective origins, too. Like Radu, Ash’s journey into vampirism is defined by his love of another, or even more specifically, by his projection of love onto another, by the version he loved that may never have existed, or that in Ash’s case he may even have destroyed in his own ambitions. Ash’s sister, Ariel, never introduced before now, is one of the major highlights of Subspecies V for me, personally. Her character is fascinating, complex, and there is so much to be learned about her brother simply by seeing their relationship and the way it unfolds.


Now you should be ready for Subspecies V. Luckily, with the whole Subspecies saga now on SCREAMBOX, you’ll be able to stream the old and new movies in one place, so why not make a marathon of it? If you don’t have time for that, or simply can’t wait to dive into the new entry—for which I truly can’t blame you—then I hope this refresher was helpful.

There’s simply no wrong way to celebrate new Subspecies.

Subspecies V: Bloodrise is now streaming on SCREAMBOX.

Editorials

The 10 Scariest Moments in the ‘Ghostbusters’ Movie Franchise

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WARNING: The following contains mild spoilers for the Ghostbusters franchise. 

Yes, Ghostbusters is a horror movie – gateway horror to be exact. Setting aside the fact that the title literally contains the word “ghost,” a foundational element of the scariest genre, the franchise follows a group of paranormal researchers who battle entities attacking from beyond the grave. After countless rewatches, the classic films and newer sequels may not scare us much anymore, but how many times have we as genre fans asserted that a film does not have to be “scary” to be considered horror?

Genre classification is nebulous and any film that centers on ghosts has a place in the sprawling house of horror. Yes, it’s true that most viewers over the age of thirteen will find more to laugh about than scream while watching a Ghostbusters film, but each entry contains a handful of terrifying moments. With Gil Kenan’s Ghostbusters: Frozen Empire uniting three generations of the parascientific warriors, perhaps it’s time to highlight the most frightening moments from each phase of this legendary franchise. 


Ghostbusters (1984)

A Haunted Library

scariest Ghostbusters movie

Ivan Reitman’s original film begins with a campfire tale come to life. We follow an unsuspecting librarian as she ventures deep into the stacks to reshelve a book. With her hair blowing from a spectral breeze, we watch a hardcover float across the aisle to the opposite shelf. A second book follows, but the librarian remains unaware. She finally notices the disturbance when card catalog drawers open on their own spewing cards into the air like literary geysers. She flees through the maze of narrow stacks only to come face to face with a mysterious force who blows her back with a powerful roar. We won’t see the Library Ghost (Ruth Oliver) until a later scene, but this introduction firmly positions the film that follows in the world of horror. On first watch, we can only speculate as to the ghost’s malevolence and whether or not the librarian has survived the encounter. It’s the perfect introduction to a world in which ghosts are not only real, they will pounce on unsuspecting humans at the drop of a … book. 

Shaky Ground

The original finale may not be the film’s most terrifying moment, but it has become the franchise’s most iconic image. When faced with choosing a form for Gozer (Slavitza Jovan), Ray Stantz (Dan Aykroyd) inadvertently conjures up an image from his childhood. Moments later, a set of once-cheery eyes peer through the skyscrapers. The Stay Puft Marshmallow Man towers over the city, stomping and destroying everything in its path. While there’s definitely something terrifying about a jovial mascot turned deadly killer, what happens moments before is arguably scarier. 

The Ghostbusters arrive at the luxury apartment building to throngs of adoring fans. Peter Venkman (Bill Murray) plays into this hero-worship and promises an easy solution to a supernatural problem. But before they can enter the building, lightning strikes the upper floors sending massive chunks of brick and cement raining down on the barricaded street. The ground begins to shake and a giant fissure swallows the entire team. It’s a destabilizing moment made all the more terrifying by its shocking reality. Speculation about the existence of ghosts may vary from person to person, but there’s no doubt that sinkholes are very real. It’s entirely possible that the ground we’re standing on right now could spontaneously begin to crumble, sucking us down into a seemingly bottomless void beneath the earth. 


Ghostbusters II (1989)

Runaway Baby

Ivan Reitman’s sequel begins with a sly update on the life of a beloved character as Dana Barrett (Sigourney Weaver) pushes a baby carriage containing her infant son Oscar (Henry and William Deutschendorf). When last we saw the attractive cellist, she was kissing Venkman in the wreckage of Gozer’s demise and the thought of this loveable lady’s man becoming a father may be more nerve-wracking than anything contained in the first film. We never learn much about Oscar’s real father, but we do discover that fate has a sinister plan for the adorable child. While Dana chats with her landlord, Oscar’s carriage rolls a few feet away. Dana reaches for the handle, but the buggy begins speeding down the sidewalk careening through the busy crowds. As if guided by unseen hands, the carriage twists and turns, then abruptly swerves into oncoming traffic. Cars honk and veer out of the way, but the racing carriage marks a collision course with an approaching bus. The wheels screech to a halt moments before what would surely be a deadly crash and Dana rushes to embrace her vulnerable child. This harrowing scene is likely to terrorize any parent who’s experienced the fear of trying to protect a baby in an unpredictable world.  

Sewer Screams

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While investigating the second film’s primary villain, Vigo the Carpathian (Wilhelm von Homburg), three of the Ghostbusters venture into the sewers hoping to find a growing river of slime. Ray, Winston (Ernie Hudson), and Egon (Harold Ramis) trek down an abandoned subway line while speculating about the hordes of cockroaches and rats they hear scurrying behind the walls. These vermin may be scary, but there are more malevolent monsters lurking in the dark. Ray and Egon both amuse themselves with the tunnel’s echo but Winston’s “hello” goes unanswered. Moments later, a demonic voice bellows his name from the dark end of the corridor. Waiting behind him is a severed head floating in the empty tunnel. As he tries to retreat, the team finds themselves surrounded by dozens of ghoulish heads that disappear faster than they materialized. Moments later, a ghostly train hurtles towards them, swallowing Winston in its spectral glow. Egon theorizes that something is trying to keep them from reaching their destination with effective scares designed to frighten the Ghostbusters and audience alike.  


Ghostbusters (2016)

Haunted Basement

Like its predecessor, Paul Feig’s remake opens with a spooky vignette. Garrett (Zach Woods) gives a tour of the Aldridge Mansion, a 19th century manor preserved in the middle of the busy city, and walks visitors through a troubling history of excess and cruelty. Hoping to inject a bit of excitement, he pauses near the basement door and tells the horrifying story of Gertrude Aldridge (Bess Rous), a wealthy heiress who murdered the house’s many servants. Hoping to avoid a public scandal, her family locked her in the basement and her restless spirit can still be heard trying to escape. Garrett triggers a trick candlestick to fly off the shelf, hinting at the spirit’s presence, but a late night incident shows that the deceased murderess may actually be lurking in her ancestral home. While closing up for the night, Garrett hears ominous noises from behind the barricaded door and watches the knob rattle against the heavy locks. An unseen attacker hurls him through the house and eventually drives him down the basement stairs to a sea of green slime pooling on the floor. The stairs crumble leaving the tour guide hanging on to the door frame for dear life as a spectral figure glides toward him with menacing hands outstretched. Once again, we won’t see the fully revealed ghost of Gertrude Aldridge until later in the film, but this terrifying opening sets the stage for a dangerous showdown with an army of the dead.

Mannequin On the Move

The scariest moment of the 2016 remake is arguably the vicious online hatred sparked well before the film’s release. In response to brutal comments posted to the first official trailer, the cast returned to film an additional scene in which they react to dehumanizing negativity. But another sequence may cut closer to the heart of this upsetting experience. The Ghostbusters respond to a call at a concert venue and split up to cover more ground. Patty (Leslie Jones) enters what she calls a “room full of nightmares” and immediately reverses course to avoid a multitude of mannequins stacked haphazardly in the dark. As she walks out the door, one of the faceless creatures turns its head her way. Walking on its own, this sentient prop follows her down the hall, pausing the moment she turns around. Eventually breaking cover, the mannequin chases Patty down the hall to the rest of the team. They unleash their proton packs and make quick work of the gargoyle-like ghost. Though this connection is surely unintentional, it’s a terrifying parallel to a faceless monster sneaking up to attack a woman simply trying to do her job. 


Ghostbusters: Afterlife (2021)

Smoke and Monsters

While Ghostbusters: Afterlife is nowhere near as scary as the horror films playing in the local summer school science class, Jason Reitman’s legacyquel does contain its share of frights. The film opens with a harrowing scene as we join Egon (Oliver Cooper) in the last moments of his life. Racing away from a sinister mountain, Egon’s truck collides with an unseen force and flips upside down in a field of corn. The elderly scientist races back to his crumbling farmhouse with a trap in hand, intent on ensnaring this invisible being. Unfortunately, the power fails and Egon has no choice but to hide the trap under the floorboards and wait. He sits in a comfortable old chair as a horrifying cloud of smoke drifts in behind him, momentarily forming the shape of a fanged beast. Demonic hands grab him from within the chair, likely causing the heart attack that will be listed on his death certificate. But his abandoned PKE meter below the chair activates, reminding us that Egon may be deceased, but he is far from gone.  

The Terror Returns

scariest Ghostbusters moments

Ghostbusters: Afterlife turns out to be a touching tribute to Harold Ramis as his friends and family unite to complete the beloved scientist’s heroic mission. In addition to a tearjerker ending, Reitman also includes a bevy of callbacks to the original film. Not only do the Spenglers square off against the team’s first enemy, Gozer (Emma Portner), the nonbinary entity brings back the Terror Dogs that once possessed Dana Barret and Louis Tully (Rick Moranis). These demonic beasts first rear their ugly heads while Gary Grooberson (Paul Rudd) stops by Walmart to buy a midnight snack. While the horde of mini marshmallow men are eerie in their gleeful self-destruction, the ghostly canine that chases him through the store is the stuff of nightmares. Early iterations of this fearsome creature are hindered by ’80s-era special effects, but Reitman’s version feels frighteningly real. While Gary frantically tries to find his keys, this Terror Dog snarls at him from atop his car dashboard, leaving the endearing science teacher with no way to escape. 


Ghostbusters: Frozen Empire (2024)

Frozen Dinner 

After a film set in a small mountain town, the opening of Ghostbusters: Frozen Empire takes us back to New York circa 1904. We see the fire station in its early years as a horse-drawn carriage responds to a call. Arriving at the scene, a fireman tests the door for heat and watches in horror as his hand instantly freezes. Inside, they find jagged shards of ice surrounding and piercing a frozen dinner party. Guests are posed in various states of ice-covered surprise while an eerie record skips in the corner. A figure covered in brass armor we will come to know as a Fire Master is crouched in the corner clutching a mysterious orb. When the fireman touches this rippling sphere, the frozen diners’ heads begin to explode, an ominous precursor to the chilling threat awaiting the newest Ghostbusting team. 

Lights Out

If Ghostbusters: Afterlife featured the lo-fi gear of the 80s, Ghostbusters: Frozen Empire hurls us into the future. Wealthy financier Winston Zeddemore has been surreptitiously building a new containment unit to relieve pressure on the original model along with a secret lab designed to study ghosts and haunted objects. In addition to fancy new gadgets and gear, this facility contains several captured spirits like a fanged Wraith and a speedy Possessor. Lab techs assure the astonished Spengler team that they are perfectly safe, but it seems they’ve overestimated the facility’s security. Lucky (Celeste O’Connor) and Lars (James Acaster) are studying the aforementioned orb when the power goes out, leaving them stranded in the dark with a cache of haunted objects. Not only does the ancient sphere hold a deadly spirit, the proton fields containing the captured ghosts have just been disabled. These terrifying creatures begin to drift through the walls toward the defenseless lab techs, perhaps at the bidding of an evil commander. Thankfully the generator kicks on in the nick of time, drawing the ghosts back into their cells. It’s a tense moment reminding us that no matter how charming the Ghostbusters may be, they still spend their days with evil spirits just waiting for an opportunity to wreak havoc.  


The Ghostbusters franchise excels at mixing humor and fear, practically setting the blueprint for the modern horror comedy. Moments from the original two films terrified a generation of gen-xers and elder millennials and newer iterations are currently scaring their kids. The fifth franchise installment effectively passes the proton pack torch to a new generation of Ghostbusters and we can only hope additional films will continue to induct future generations of Ghostbusters fans into the horror family as well. 

Ghostbusters: Frozen Empire is now playing in theaters. Read our review.

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