With 13 Days of Shot On Video I’ll be reviewing a new shot-on-video horror film every weekday for the last two weeks of October. You can view all entries HERE.
Well, the day has arrived: this is the final entry in my two week-long odyssey into the belly of the bare-bones beast, “13 Days of Shot on Video”. Honestly, it went a lot smoother than I thought it would. It wasn’t until today that I became afraid I wouldn’t make it. I know, it sounds silly to say but I really didn’t think I’d complete my final entry. I can only liken it to what I assume runners experience when they hit “the wall” miles into their marathon, right before they reach the finish line. Not only am I mentally exhausted from churning out a new review (for what are essentially identical movies) everyday for almost two weeks straight, but my tolerance for the camp and low-budget whimsy of these monsters is totally deep-fried. I’m beginning to no longer appreciate their shortcomings, which is unfair to them and makes for an impartial review. I said it before and I’ll say it again: I am in major need of a detox! Continue reading DEATH ROW DINER – 13 Days of Shot on Video! (#1)
, aka Mama’s House, and I gotta say: I didn’t really enjoy it. Perhaps it’s the fact that I was fresh off the surprisingly great shot-on-video home invasion flick, Venus Flytrap — or maybe it’s because I love Gary P. Cohen’s other two movies so much (Video Violence and Video Violence 2) that, when compared to the aforementioned SOV flicks, Captives can’t help but fall a little flat.
. Not much info exists about it online (no Wikipedia page, a scant IMDB page, and only a handful of horror blogs have reviewed it), and the only reason I happened upon it was because it was included in one of those “buy this group of DVDs together, save this amount of money” type deals when I was adding DVDs to my shopping cart on Amazon. The cover art looked really unique and I don’t think it cost no more than ten bucks, so I thought, what the hell. You only live once, right?
is such a singular, unique film that of course it could only be birthed during the ’80s shot-on-video boom.
I’ve sat here at my keyboard for awhile now, wondering how to start my review of the 1986 shot-on-video baddie, 
. I’m having trouble putting it all into words. I have my notes next to me (I always take notes using the Notepad feature on my iPhone — a must), and they are helpful but, still, I’m left with a sort of desperate, helpless feeling as I grasp for the right words to summarize the movie and my reaction to it.
Camera Viscera 