Category Archives: Psychological

Of all the horror movies I’ve ever seen, few have actually made me nervous. Even fewer than that have scared me. Thus, I thought I might create a list or two, focusing on those moments in certain films, and how and why they managed to scare me when so many others did not. This is not necessarily an exhaustive list, nor is it composed of movies based on their true quality or popularity level. Some scared me all the way through, and some, just in certain instances.

The Poughkeepsie Tapes (2007)

Okay, I’ll admit it. This movie creeped me out, in a big way. In the best fucking way possible. Now, don’t get me wrong, not the whole movie. I wasn’t sitting there like some punk. But this movie is absolutely chilling. I am being 100% honest here. The feeling, the atmosphere, the story, the tapes, the possibility that it could happen, and probably has happened? Just think about it here for a minute – a serial killer, young enough to be unassuming, yet old enough to not get caught, who has no preference in his victim selection, and who rids them of all dignity, humility, and self-esteem before brutally killing them, on camera no less? Come on, now! It’s fucking amazingly twisted. Yeah, yeah, the acting on the part of the regular folks wasn’t the best, but the acting of Ben Messmer (The Water Street Butcher), and the victims, particularly sympathetic Stacy Chbosky (Cheryl Dempsey) is utterly astounding. I want to feel uncomfortable when watching a horror film, I love that feeling, I thrive on that feeling, and this movie does it for me. I definitely don’t think it gets enough credit, mainly because hardly anyone has seen it because it doesn’t exist except on the internet, and because people are leery of the “found footage” subgenre of horror. I get it, and I hear you. But, this movie is a shining example, to me, of how a horror film should be made. It is horrifying, which is the goal of a horror movie, hence the name. The entire movie you’re pretty much on pins and needles because the normal scenes are so quiet, and then when they cut to footage of the tapes, it’s very loud, and there is usually a woman screaming in terror. This makes it very unnerving, and you can never get fully comfortable in your own skin throughout. This makes it a very effective film, indeed. The most nerve-wracking and fucked up moments?

1) The Creepy All-Fours Walk

Here’s a taste of the scene that gives me chills. It still gets me no matter how many times I see it. The Butcher wears a white, emotionless mask on the back of his head, creating an illusion, when really he is walking on all-fours, and wearing a creepy Comeddia dell’arte mask on his face as he moves closer to the camera. He then kills his terrified victim, up close and personal. I literally pull my legs into my chest when I see this. I cannot explain it. But it scares the fuck out of me. I admit it without shame. If this doesn’t scare you, there might be something wrong with you.

2) Cheryl’s Mom Confronted

Soon after teen and main victim Cheryl Dempsey is abducted, The Butcher confronts her mother, telling her, “if there’s anything I can do…..”. As she realizes who he might be, he simply giggles eerily and walks away. There is something about this that absolutely kills me. Maybe it’s the gall of the killer to confront his victim’s own mother because he is confident that he will never be caught, or the trauma this further causes the mother, but something about it goes through me, and fills me with sadness.

3) Cheryl’s Depressing Interview

Towards the end, Cheryl is rescued and returned home. She seems to have aged thirty years and is depressed beyond measure. She has been conditioned by the killer to respond only to him, with whatever he wanted her to say. Thus, she keeps telling the cameramen, “I don’t know what you want me to say….” This broke my heart, because people are really that broken by experiences they’ve had, and though this movie is fake, shit like this does happen. It is also revealed that her left hand has been removed. She refers to her Master, that he will come to get her, and that he didn’t mean to leave her behind. Most chilling, she thinks he really loves her. At the end of the short interview, words appear onscreen, informing us that she killed herself two weeks ago the taping. After this, a news reporter comes on, talking about how her body was stolen from the cemetery where she was recently buried. Scary. I don’t care what anyone says, this movie GETS to me. Which is really the point, yes?

The Strangers (2008)

Well, if it hasn’t been made obvious by now, the scariest movies to me are those that could actually happen. Home invasion, serial killers, torture and torment? Yeah, right up my alley. So, of course, The Strangers will always appear positively in any list of mine. I was so pleasantly surprised by this movie, and I could hardly believe it was Bryan Bertino’s directorial debut. The fact that it is loosely based on a few real life incidents (the Manson murders, The Keddie Cabin Murders) makes it all the more horrifying. A young, innocent, likeable couple terrorized in their own home (well, vacation home), by three psychopaths throughout the course of an entire night is horrifying to think about. The whole movie is creepy, for sure, but here are my top scenes.

1) Kristen Terrorized

From the moment James leaves to get more cigarettes, Kristen is tormented by the strangers, slowly at first, rapping on the door every so often, pretending to still be looking for Tamara, and then loud, malicious pounding. Kristen’s cigarettes and the fireplace have caused the alarm to go off, and she removes it, leaving it on the floor as the door is hit once again. She calls James to tell him to hurry, and goes back in the living room. The smoke alarm is now sitting on the cushion of the chair she used to stand on. They’ve been in the house, and even stolen her phone and thrown it in the fireplace. Eventually, the front door opens slightly, and Kristen sees a woman in a pin-up girl mask staring back at her. We weren’t quite expecting that, which is what makes it so startling. The whole scene builds up so much that once we catch a glimpse of one of the tormentors, we practically jump out of our seats. Well, I did. Amazing.

2) Mike is Stalked

Earlier in the night, James had called his friend to come pick him up, as he and Kristen were fighting. He finally arrives, after most of the terror has taken place. He enters the house, which is eerily quiet, except for the Merle Haggard record, “Mama Tried” playing over and over. As he walks through the house, confused and nervous, the masked male stranger appears behind him, stalking him with an ax. We’re sure he is going to be hacked to death brutally, but in a fucked up turn of events, James shoots him in the head, not realizing it is his friend. This scene is where everything pretty much goes to hell. We know the victims are probably not going to survive, and even if they did, they just killed their best friend and would be messed up for life. Fear can make us do horrible, unintentional things, and this scene proves that.

3) “Because you were home”

After the night of terror is over, the sun rises, as Kristen and James are bound and tied to two chairs in the living room. The strangers stand over them, just staring. Kristen asks, “Why are you doing this to us?”, to which the blonde stranger replies, “Because you were home”. This is so beyond creepy. They were just out looking for people to terrorize, and they just happened to be home. The strangers are a trio of sociopaths, who get their kicks tormenting and torturing helpless people in their homes. They thrive on the fear it causes, and once their fun is over, they must do away with them. James is stabbed slowly several times with a butcher knife, and then the same happens to Kristen. James is dead once the two little religious boys arrive to solicit Jesus materials, but Kristen is still alive, and screams out in terror as one little boy reaches out to her. I was just so, so impressed with this film.

The Ring (2002)

The Ring is one of those films I’ll never tire of. Yeah, I know it’s ten years old now (Jesus!), but it still freaked me out when I saw it, so it is deserving of my loyalty and love. Even at 14 I was a hardcore movie freak, and cynic, but I was pleasantly surprised by this gem. I really don’t care what anyone says. Gore Verbinski did a tremendous job on this film. Not one line of dialogue, one speck of lighting, nor one aspect of storyline is out-of-place. To me, that means a hell of a lot, not to mention, it features one of the creepiest kids ever in horror.

1) The Tale of Katie and the Tape

The beginning of the film opens with two teen girls, staying in on a rainy night, talking. The subject of urban legends comes up, and Becca mentions to Katie the mysterious tape that “kills you when you watch it”, seven days after receiving the threatening post-view phone call. Katie believes she’s seen the tape, and fakes Becca out by pretending to choke. After some shenanigans, the phone rings, scaring the girls to death. It’s Katie’s mom, and they answer it downstairs. Becca departs so they can talk, but after speaking to her mom begins to experience some strange things. The television comes on The Static Channel by itself, twice, she sees a blurry movement in the screen, and the refrigerator opens by itself. Okay, not too creepy when you type it, but the film makes it pretty eery. After going upstairs, she steps in a mysterious puddle outside her door. Upon opening the door, she witnesses the t.v. on a strange blueish-grey screenshot of a well in a forest, which prompts her to scream and contort her face unattractively as the screen cuts to black. Later on, at her funeral, her mother says she saw her face, and the scene quickly cuts to Katie curled up in her closet – twisted, contorted, and discolored. Look, it’s fuckin’ creepy, okay? Just admit it! Even the guy friend I was with seeing this for the first time ten years ago practically hit the ceiling! Me? I was startled, but I held my own, unlike him.

2) The Tape Itself

Do I really have to describe this one? The tape itself isn’t really scary, but it sure is strange, and the creepiest part is before we know the whole story, we’re sitting there, thinking, “What a bunch of random fucked up shit!” And it is, it really is. And the lighting and coloring of this videotape makes it even more odd and discomforting.

3) Samara’s Return

So, if you tell me that when Samara came up out of the well, and came through the television set, you didn’t get rattled, you’re either lying, or dead. Perhaps both. Of course, it’s not too big a deal now that we’ve all seen it a thousand times, but the first few times, particularly the first, it was fucking amazing. This evil little bitch will not be stopped, and she has to go and kill sweet Noah. Typical, the good guy dies, I call BULLSHIT. But still, it proves she is unrelenting, and innately evil. Not even Rachel’s compassion and discovery of her water-logged body will faze her. I wouldn’t want to meet her in a dark alley, because my charming ways would apparently not work on her. This scene is a classic already, and still gets my stomach in knots when I see it. A few male friends even told me they turned their sets around when they got home from the movie when they first saw it. Bold of them to admit, but can you blame them? It was unsettling, and shows that there usually is no happy ending in horror films.

MORE TO COME! :)


This post may draw a bit of criticism, or at the very least, disagreement, but hey, that’s okay. I love this sequel, and I am proud to admit it. Yep, that’s right. I fucking love this movie! I know, I know, it’s the most hated amongst the Chainsaw films, but for me, it’s one of my favorite movies to watch, period, horror or not. Besides being kooky and crazy in a good way (unlike Part 2, which was frantic and somewhat muddled), there are three fantastic cameos, not to mention, amazing performances from Renee Zellweger and Matthew McConaughey. On a side note, for some reason, the program I use to grab my screencaps doesn’t want to work for Leatherface: The Texas Chainsaw Massacre III, so I will try to get it working soon, but for now, we’re going a little out-of-order!

I’ll tell ya, when I was about nine, and this was finally released on Pay-Per-View, I begged my mom to let me see it. Having seen the other films, she wasn’t sure, but since I had watched horror movies my whole life, she gave in. After it was over? We both looked at each other, like, that’s it? Because it truly is more schtick than shock, and more hilarious than horrifying, but it’s absolutely fantastic. Unlike Part 2, which seemed to have no direction it was headed in, period, this one had no direction it was going in on purpose. It was supposed to be wild and ridiculous, and make the viewer really feel like they weren’t quite sure what was going on. If not for the funny parts, I would seriously compare it to the original in that one regard.

Its May of 1996, and we meet some teens going to their high school prom. Jenny, the resourceful, cute, nerdy, girl-next-door (brilliantly portrayed by Zellweger) is dating Sean (John Harrison). Friends Barry (Tyler Cone), the jock, and Heather (Lisa Marie Newmyer), the ditzy, cheerleader type, are all decked out in fancy prom gear.  Heather can’t seem to find Barry, when she comes upon him cheating on her with some other chick. She loses it, and takes off in his car. She slows down to let him in, and takes off down the road. He tries to calm her down, but basically blames her for his cheating, telling her that guys can get prostate cancer if they get blue balled. Jenny, hiding in the back seat, smoking weed with Sean, emerges, stating that it’s a lie, nearly scaring the couple half to death. Heather, startled, wonders out in the middle of the intersection, and Barry’s car is struck.

Barry’s pissed, worried that his dad will find out about the pot smoke and now the damage, but they keep driving on down the road. Jenny continues to tell Heather not to blame herself, because you can’t get cancer from not having sex. Heather doesn’t really seem to buy it, and Barry tells Jenny to shut up. He harasses her about wearing conservative clothing, and that he thinks she and Sean are just friends, and that she hates guys. Sean even tells Heather about when they were little, and he used to brag about all the boobs he’d touched, because he told girls “his father was a doctor, and they’d get cancer if they didn’t get felt up enough”. Heather’s disgusted by her boyfriend’s behavior, but not seemingly enough to do anything about it.

After the kids continue joyriding deeper into the woods, they are struck by another car, only this time, it’s harder, and the other driver is hurt and unconscious. Concerned, Jenny, Heather, and Barry decide to go call for help, while Sean stays behind with the victim. They walk along into the woods, with only a flashlight and uncomfortable prom shoes, while Heather acts paranoid that someone is following her and wants to kill her.

They reach a little business, operated by a very eccentric woman named Darla (Tonie Perensky – you might remember her as the teacher-by-day, stripper-by-night from Varsity Blues). She calls her boyfriend, Vilmer, to tell him to take his tow truck out to their crash site. She tells a joke that, of course, Heather doesn’t get (Why do blondes stick their head out a car window? To get a refill). Suddenly, a rock flies through the window, and Darla goes to the window to flash the pranksters. Striking the kids as a bit odd, they leave as soon as they can. Meanwhile, at the crash, Vilmer (McConaughey) arrives to check on the injured teen. Sean tells him he’s been talking in his sleep, but Vilmer keeps insisting he’s already dead, and Sean refutes this. So, Vilmer reaches down and breaks the kid’s neck. “Well, he’s dead now”, Vilmer says. Sean, completely fucking freaked, begins backing away from the man with the mechanical leg. He asks him what he’s going to do, to which he replies, “First, I’m gonna kill you; it ain’t no fuckin’ biggie!” He hops in the wrecker and chases Sean down the road, and eventually hits him. He also backs over him several times while listening to rock music.

As the teens make their “about a mile” trek back to the crash site, Heather wants Barry to carry her, but he refuses. A car drives by, and the couple attempt to flag it down, and follow it. Jenny goes on another way by herself. Heather sort of drops the stupid act, revealing that she only acts that way because that’s what’s expected of her. She tells Barry she’s a bitch, and just like her mother. She also begins to defend Jenny, saying she’s shy because her stepdad(s) always hit on her, but she has a body to die for. Soon, Heather and Barry reach an old farmhouse, thinking they can pay someone for a ride into town. They knock, but no answer. Barry goes around back to check, and Heather sits in the porch swing. Leatherface soon sneaks up behind her, completely silent, and one of the few times in the whole series that he gave me the creeps. He begins touching her hair, but she swats him away, thinking it’s a bug. Meanwhile, out back, a man pulls a shotgun on Barry, as he attempts to explain that they just need a ride. The man, W.E., begins reciting the first of many historical quotes, and forces him around to the front of the house. Heather gets up to walk away, since she is annoyed with that “bug” that keeps fucking with her, and she sees Leatherface. She screams bloody murder, and tries to run, as he grabs her. She puts up a hell of a fight, but he drags her in the house, and stuffs her in a freezer. Leatherface begins screaming his loony scream, as W.E. forces Barry to go inside. He says fine, that he needs to use the bathroom anyway. He has no idea what he’s walking into.

Once inside, he uses the bathroom, still calling for Heather, not knowing she’s been attacked. He comes across a decaying, nasty corpse in a bathtub, and freaks. As he runs, Leatherface pops out and bashes him in the head with a sledgehammer, and kicks him repeatedly. Heather attempts to get out of the freezer, so Leatherface picks her up, and impales her on a meat hook. Surprisingly, I do feel bad for her character, because though she’s a bit ditzy, she was a good person, and a good friend. Back on the road, Jenny flags down the wrecker, and asks Vilmer where Sean is. She finally gets in the truck, and he begins telling her how it’s not good getting in a car with strangers these days. Jenny nods, making polite conversation, and he adds that he heard about a guy who picked up a hitchhiker, cut both her arms off, and threw her in a culvert (It’s likely that he’s referring to the Mary Vincent case – a real crime that happened to a 15-year-old hitchhiker. She was raped by an older man, who afterward hacked both her arms off, and threw her in a ditch. Thankfully, she lived). Jenny gets really scared when, after telling the story, Vilmer says, “That sorry son of a bitch didn’t have shit for an imagination! How fuckin’ simple can you get?” She wants him to let her out, but he tells her if she really wants to be scared, to look in the back of the truck. She finally does, and to her horror, sees the injured teen, and boyfriend Sean dead, strung upside down like deer carcasses. Vilmer tells Jenny he doesn’t care what happens to her, that it’s her life, so she leaps from the moving vehicle.

Apparently, he does care a bit what happens to her because he begins chasing her through the woods in his truck. Eventually, she runs into a cluster of trees the vehicle won’t reach, and he tells her she doesn’t know what the hell she doing, and to ‘live and learn’. He turns off the truck’s spotlight, backs up, and drives away. Suddenly, a chainsaw-wielding Leatherface bursts forth, and starts chasing Jenny. Zellweger really shows off her true athletic ability, especially in this chase sequence, which I found to be my favorite amongst the Chainsaw films. She makes her way to the farmhouse, where she runs upstairs and finds a gun. Leatherface begins sawing his way through the front door (he has no regard for doors or decency, clearly he was raised in a barn), and Jenny fires the gun, but there are no bullets. So, she chucks the gun at him, and runs back upstairs and flings herself out the window, onto the roof.

Jenny manuevers around the roof, running from Leatherface, and climbs up the antenna. He hacks that down just as she jumps on a wire. Well, he cuts that down too, and she falls into the old greenhouse. Dazed and stunned, she begins running again just as Leatherface revs up the chainsaw’s engine. Another really cool chase scene ensues, ending as Jenny finds herself back at the business they used the phone at earlier. Darla tells her to calm down, and that is was probably just a prank. Jenny insists that the dude had a chainsaw, and Darla uses the phone, telling someone to get there “mucho quicko”. W.E. arrives with a cattle prod, and Darla tells him he should’ve brought a gunny sack or something, and he replies, holding out a garbage bag, “What’s this look like to you – green eggs?” She tells him to tie her up, and Jenny freaks, realizing they’re in on the whole thing. W.E. knocks her out by continuously beating her with the cattle prod, as well as zapping her with it, much like The Cook did in the original with a broom.

Darla calls to order pizza, as W.E. stuffs Jenny in the trunk. She goes to pick up the pizza, and is nearly caught by a police officer who notices her talking to someone in her trunk. Jenny tells Darla she can’t breathe, so she pokes a hole in the bag covering her head. As she gets her food, the police watch her suspiciously, and follow her for a while. They move on, and Darla continues driving home. She comes upon Heather laying in the middle of the road, having escaped somehow. She begins beating her ridiculously with a stick, and tells her not to go anywhere. Darla has Leatherface grab Jenny and bring her inside, as he is shocked by W.E. with the cattle prod. Leatherface appears to be scared of him, but listens to Darla and Vilmer. W.E., holding pieces of wood, states to Vilmer, “Look what your brother did to the door!” (Another obvious homage to the original. That’s part of the insanity I love in these films – they kidnap and kill people, but they’re concerned about a fucking door!) Once inside, Vilmer sits her down, and removes the trash bag. She’s terrified to see the same man who killed her boyfriend, and he proceeds to taunt, tease, and torment her. Once they bring Heather back inside, Vilmer says he’s in the mood for love, and bites the crap out of Heather’s nose and face, his mouth dripping with blood as he laughs maniacally.

Cut to the next scene, and Darla is attempting to comfort Jenny in the nasty, filthy bathroom. Jenny wants her to help her escape, but she says she’s not allowed to. She also tells Jenny that Vilmer works for a group of people who are always talked about, but no one knows who they are (“Who do you think killed Kennedy??”) It’s presumed that this so-called group is the Illuminati, which is on the side of Vilmer’s wrecker, though it’s never mentioned. Darla, for a psycho, is actually being pretty nice, but Vilmer bursts in, throws her out, and pins Jenny up against the door, stating, “I’ve got a mind…..to slit your goddamn throat!” as he raises a knife to her neck. He tells him she has ten seconds to give him a good reason why he shouldn’t do it. As he counts down to one, she says, “You want me alive for some reason”, and Vilmer thinks it’s a good enough answer. He even kisses her on the cheek. As they leave the room, Darla attacks him for “embarrassing” her “in front of company”. He gets her on the floor, with his boot on her throat, when Jenny grabs the shotgun, pointing it at all of them. With all the madness going on, Jenny tries to coax an unconscious, dying Heather to get up, but she can’t, and falls back asleep in a pool of her own blood. Jenny tells everyone to get on the floor with their hands up, and they all comply, even Leatherface. Vilmer tells her it isn’t loaded, to which she replies, “Maybe it’s not loaded, but maybe it is, so fuck you!” Vilmer goes crazy and begins cutting himself with a razor, and Darla attacks him again, yelling and screaming. Jenny tells Vilmer to leave her alone, and he turns around and sticks the gun in his own mouth.

Jenny closes her eyes and pulls the trigger, but nothing happens. Vilmer grabs the gun, points it above her head and shoots. He begins cheering and hollering for some reason, and Jenny runs outside. She gets in the car and backs up, but Vilmer jumps from the window onto the vehicle. He tries attacking her from the windshield, when she brakes, and he falls. As she drives on, however, the hood flies up and she cannot see. She ends up crashing, and Vilmer takes her back inside. The family is getting ready for dinner, which by now, would probably be really gross and not safe, but Leatherface dresses in drag, and puts on lipstick, and admires himself in the mirror. Darla, now dressed in some kind of S&M looking outfit, begins flirting with Vilmer in the kitchen, and fucks with his mechanical leg by pressing all the buttons on his remotes. They begin heavily making out, before she kicks him with her heel. Well, now it’s time for dinner, but I’m sure the pizzas are cold by now, despite what Darla says.

The dinner guests include, besides Leatherface, Darla, W.E, and Vilmer, three dead individuals, the dead-looking grandfather figure, an unconscious Heather, and a very terrified Jenny. She is now in a completely different dress, a very strange black, silver, and red get-up, and is seated at the head of the table. Once she looks around her to see who her dinner companions are, she begins screaming hysterically, while Vilmer begins screaming at the top of his lungs in her ear. She begins having a panic attack, and Vilmer mocks that, as well. Darla gives her a paper sack to breathe into, and she calms down a bit. Jenny asks if Darla’s going to help her or not. Darla says she cannot, because Vilmer put a chip in her head, and all he is to do it is push a button, and she makes an exploding noise. Jenny finds this hysterical, so Darla repeats it, to which Jenny replies, “There’s nothing in your head”. W.E. states, “Girl, you just said a mouthful”, and Jenny finds this hilarious as well. I fucking love this scene, because, well, it’s just perfect. It is hilarious in a darkly comical way, the way part 2 tried to be but wasn’t. Jenny is finally realizing these people are insane, and that to stay sane herself, she must defend herself, and separate her mind from this bunch of misfits.

Vilmer tries to grab Jenny, but she slaps him hard across the face, twice, and tells him never to touch her again. Thinking she could very well just walk out the door of this madhouse, she states that she’s going to leave, and no one will stop her. Leatherface stands up and begins screaming, to which Jenny hilariously replies, “You sit the fuck down! And shut up!” Haha, wow, I love that part, and among the many fantastic lines of the movie, this one just really struck me funny. I always look forward to that part. After her defiant act, Vilmer returns to the dining room with lighter fluid, pours it on Heather’s back, and sets her on fire. Jenny screams and begs him not to, and that she’s sorry for acting up. Heather runs into the wall, where Darla uses a fire extinguisher and puts her out. She complains about never getting that smell out of her clothes. Heather, however, is not dead yet. Suddenly, the doorbell rings, and in walks a strange man in a business suit named Rothman. He stares at Vilmer, disapprovingly, and makes his way through the house. Once he reaches the dining room, Jenny runs to him, asking him to help her. Leatherface, however, grabs her and makes her sit back down. Rothman corners Vilmer, and asks him what the hell is going on, and that he knows he’s here because he wants these people to know the true meaning of horror. He proceeds to take off his shirt and walk toward Jenny. She is disgusted when he reveals his stomach is covered with scars and piercings, and he begins licking her face.

As he buttons up his shirt, and turns to leave, she wipes his nasty saliva off of her face. Vilmer, upset by that Rothman guy, walks over to Heather, puts his boot on her head, and proceeds to slowly crush her skull, while Leatherface holds back a crying Jenny. It sounds really gross, and like I’ve said before, sometimes sounds are worse than what you’re actually seeing. After he kills her, Vilmer starts repeating, “Why?”, as he cuts himself in the arm and his chest with a razor blade. He’s crying, and Darla tries to stop him from hurting himself. During the chaos, Jenny takes off running, but Vilmer grabs her again as Leatherface starts his chainsaw. Vilmer tries to hold Jenny down so Leatherface can kill her, but she grabs the remote to his electronic leg, and begins pushing buttons. After a long back and forth of the two of them trying to gain control of his leg, Jenny gets the upper hand, and takes off running out the front door. Vilmer stands on the front porch telling Leatherface to “get that bitch”, and yelling his own name.

By now, its early morning, and a recreational plane flies overhead. Jenny is still running from Leatherface, and on a dirt road, comes across an old couple driving in an R.V. She runs out in front of their vehicle, yelling for them to stop. The woman, Mrs. Spottish, tells her husband not to stop, until she sees that the girl is being attacked and that there’s a “monster chasing her with a chainsaw!” She gets in the vehicle, and along comes Vilmer in his wrecker right alongside them, and Leatherface hitching a ride in the bed of the truck, still trying to get Jenny. This causes the RV to crash, and land on its side. We don’t know if the old couple is killed or not, but all we do know is that Jenny is still running. She hops off the wrecked RV and runs down the dirt road, with Vilmer on her heels. As if by fate, plan, or coincidence, that recreational plan flies just low enough to hit Vilmer in the head with one of its wheels. He’s finally dead, with his head oozing an amount of blood that seems just about right for what just happened to him. Jenny stares at the body with disgust, as Leatherface begins crying, screaming, and wildly swinging his chainsaw. A limousine pulls up, and honks for her to get in. She does, but the kind-hearted stranger turns out to be Rothman, sitting quietly, reading a newspaper.

He tells her not to be frightened, and that everything that happened to her was intended to be a religious experience. He rambles on about his inferiority, and the things he’s done, to which Jenny simply replies, “Fuck you”. He asks her if she wants to go to the hospital or the police station. At the hospital, a policeman is talking to her (Cameo #1 – John Dugan – The Original Grandpa), telling her it’s not the first time something like this has happened, and that they’ll look into it. As he talks, an orderly (Cameo #2 = Paul A. Partain – Franklin) walks by, pushing a patient (Cameo #3 – Marilyn Burns- Sally Hardesty) on a gurney. The two stare at one another, as if they know exactly what the other is thinking and feeling. The woman on the gurney continues to stare, as does Jenny, while the policeman tries to get her attention. The film ends with the officer asking, “What the hell’s goin’ on around here?”, as we get a final shot of the sun, and Leatherface swinging his chainsaw down the dirt road.

I have to start off by saying I don’t know why so many people hate this movie. Seriously. I know tastes are different and all, but people like the second one, but not this? But that’s just me. I just hope I’m not the only one out there who loved this movie! The soundtrack is fantastic, utilizing a mixture of rock and country, definitely giving the movie a backwoods feeling at times. My favorite song, though, was definitely “Blue Moon at Dawn” by The Coffee Sargeants. To me, this really is like a cheesy 80s movie, because it has all the elements of the ones we love; Sleepaway Camp, Motel Hell, Return of the Living Dead, movies like that. Of course, I am not comparing this movie to those classic greats, I’m simply saying that it is possible to do horror and comedy right. Vilmer’s character is so wildly insane at times, and so eerily calm at others, that I feel this makes him a very worthy villain. Plus, you’re never really sure if he is some kind of secret agent acting, or if there is some society out there using him and his fucked up family to do their bidding. I always sort of loved the conspiracy theory aspect, because when one thinks back on all the incidents over the years of the Chainsaw films, it seems too good to be true that no one was ever discovered, apprehended, or brought to justice (well, except for whoever the introduction mentioned in a prior film, but I don’t count that). All we’re ever told is that the victims are brutally killed in the middle of nowhere, the killers seem to vanish in plain sight, and the survivors are left dazed, catatonic, or fucking insane themselves. I think, like many people might, that the idea of the films is better than the actual presentation of them (i.e., for me, Part 2). Zellweger did a fabulous job, and this is one of my favorite roles of hers. She really has the qualifications of a scream queen, and genuinely looked terrified. McConaughey was remarkable – he sure can play a psychopath well.

John Dugan, Marilyn Burns, and Paul A. Partain

That’s why I found this one so refreshing, because, let’s see: we get two amazing actors who have gone on to have two of the biggest careers ever, three cameos that only a horror fan would have caught unless they’d been made aware of it, gruesome kills, funny yet menacing characters, a sympathetic final girl, a believable premise (prom night), and a lovely soundtrack. Oh, yeah, and Leatherface is dressed in more drag than I’ve ever seen him in before. He even puts on lipstick and admires his body in the mirror like Buffalo Bill in Silence of the Lambs! Have I convinced anyone yet?…..No? Well, maybe I never will, but I will always enjoy this sequel, semi-remake, whatever people want to call it. I call it a sequel, because other incidents are referenced, and I always took the patient on the gurney at the end to be Sally Hardesty, no matter what the prior sequels said about her dying in a private care facility. Bullshit. W.E.’s character was another favorite; I loved all the quotes he spouted in the film (“Discretion is the better part of valor”, “The woman’s a whore, and there’s an end on it”, “I have not yet begun to fight”). I mean, seriously, the guy’s really smart, and he doesn’t seem as crazy as the others, so it makes me wonder what the fuck he’s doing there! Plus, Kim Henkel directed this, bringing back three actors we all know and love from the 70s film, so if you still don’t like it for whatever reason, you should at least respect that it had some throwback to the original predecessor throughout. It’s a lot better than it’s given credit for!


The Stepford Wives (the original, not the lame-attempt-to-be-comedic-remake) is one of my favorites. Yeah, I know, I have a lot of favorites. I’m aware. So now that we’re all aware, let’s dive into this psychologically satisfying, slow burning bundle of underrated magnificence.

Surely, part of the magnetism of this movie comes from the fact that it is based on a book of the same name by Ira Levin, who also authored the cult classic, Rosemary’s Baby. He really knows how to turn on the suspense, without being overly gory, obvious, or even violent. As I’ve often said, human behavior is usually the scariest thing of all to witness. Joanna Eberhart and her husband, Walter, decide to move from Manhattan to the little town of Stepford. Joanna (the stunning Katharine Ross) is a “hopeful semi-professional photographer” who hasn’t had much luck in the field yet, and Walter (Peter Masterson) is a lawyer, anxious to grab his piece of the pie in life. Their children are Kim and Amy, and Kim is played by a teeny, tiny Mary Stuart Masterson, who happens to share the screen with her real-life father. Let’s not forget their adorable little dog, Fred. The first day of moving in, their new neighbor, Carol Van Sant, delivers a casserole to welcome them. She is polite and kind, but speaks as though she’s in her own little universe. She’s too kempt and put together, and is extremely uptight, but nonetheless, neighborly. Joanna isn’t sure why they moved, though Walter gives several good reasons. She decides to give it a a chance, although she isn’t quite sure what she’s getting into.

The next day, she puts her kids on the bus to school, and most of the children seem strange, too. Joanna is visited by the local busybody newspaper employee intent on interviewing her to feature her in the Newcomers column. She describes herself as a struggling photographer, and that she’ll miss the noise of New York. Later on, she decides to give the casserole dish back to Mrs. Van Sant, but on approaching her house, she notices Ted Van Sant clearly groping his wife as she does yard work. She doesn’t seem to mind this obvious public display of affection, and goes on about her business. Joanna is a bit tickled by this, and decides it isn’t the time to visit. That night, Walter tells her he’s been invited to join the Men’s Association, a group which only the best and most prominent Stepford residents belong to. Joanna is a bit perturbed by the sexism of the situation, and it’s understandable, as this is in the 1970s at the beginning of the women’s lib movement. While shopping for groceries soon after, Mrs. Van Sant gets into a very slight fender-bender in the parking lot, and begins to hold her head and repeat over and over how silly it is that they called an ambulance. The Eberharts witness this, and find it strange when the ambulance takes her in the opposite direction to where the hospital is located.

One night, Walter comes home late after accepting the invitation to join the Men’s Association. He is clearly upset and has tears in his eyes. He keeps telling Joanna how much he loves her as she comforts him. Hmm, wonder what he’s so upset about? I believe this scene to definitely be foreshadowing events to come, and if you’ve seen it, you’ll know why. If not, go watch it now, and stop reading. Joanna soon meets her new best friend in the form of a wonderfully funky, silly, hilarious, outspoken woman named Bobbie Markowe. They hit it off right away, and begin to spend virtually everyday together. Her husband is in the association, too, and she has two children, as well. Walter decides to bring his men’s club buddies home one night to discuss event planning, and Joanna meets a mysterious, creepy man named Dick Coba. He’s always leering at her, and rarely smiles, and when he does, it seems to be hiding some dark secret. During the course of the evening, one of the men, Ike, draws Joanna’s picture, beautifully I might add, but it just seemed strange to show up at someone’s house and begin to sketch their portrait.

She is impressed, and sits in on the conversation, but finds them incredibly boring, dull, and chauvinistic. Yeah, clearly. Walter, however, seems to love them already, and finally feels like he belongs to something. Later on, during a pool party for the whole neighborhood, Mrs. Van Sant begins acting strange again. She has been drinking wine, though very little, and her husband forces her inside to lay down. She had been repeating over and over that she’ll “just die if I don’t get this recipe”. The next day, she goes to apologize to Joanna and Bobbie, and it seems she is in a very controlling marriage, and that she should have to apologize for anything strikes the two best friends as very odd and infuriating. They begin talking about women’s lib, and how no woman in Stepford likes to do anything but clean and serve their husbands. They decide to go around talking to the wives and see if there’s interest in starting a women’s club to juxtapose the Men’s Association.

They speak to nearly everyone, but no one seems to give much thought to anything except cooking, cleaning, and their families. Upon entering one woman’s home, they hear the couple having sex upstairs, and the woman is praising her husband like nobody’s business, going on and on about his prowess. None of the women seem interested, save one. Charmaine, a delightfully fun redhead with a tennis court and a maid, really likes the idea, and isn’t into housework like the rest of Stepford. One of men in the association is into words and speech, although he stutters. He convinces Joanna to recite a list of words into this recorder, claiming he’s trying to upload a database of people to help law enforcement. She complies, only if he delivers his wife and some other women to their group. They all attend, but speak of nothing but housework and cleaning, even going so far as to praise Easy On Starch to lessen their ironing time, and being saddened that they didn’t bake anything the day prior.

Joanna and Bobbie find this incredibly weird. One night, Joanna goes on a walk with their dog, Fred, and he ends up getting off his leash and running towards the Men’s Association. A security guard warns her to stay away, though she tells him the reason she moved there is so she could safely walk around at night. As Joanna and Bobbie shop at the local drugstore, they notice the pharmacist, and Bobbie tells her that he is Frank, the one whose wife was praising him in bed to the high heavens. He is clearly not her type, making it even more questionable. We also see a shot of someone driving away with Fred the dog in a crate in the back of a truck. I always hated this scene, because when I first saw it, I didn’t know what was going to happen.

The next day, no one can find Fred the dog, and Joanna and Bobbie go out looking for him. They happen upon a frightening sight – Charmaine has had an earth mover come and destroy her beloved tennis court. She is now dressed in a pretty, white, conservative dress, and speaks only of wanting to please her husband, and says she’s been selfish all these years. Bobbie is now seriously freaked out. She begins to believe there is something in the water in Stepford making the women turn into robots. They decide to go visit Joanna’s ex-boyfriend, who happens to be a scientist, Raymond Chandler (no, not the author). He tells them there’s nothing wrong with the water, thus adding to Bobbie’s fear, and Joanna truly begins to believe something is way off. Bobbie tells Joanna she’s going to get the hell out of Stepford, and is afraid her time is coming. Joanna, that night, also finishes the voice project that one of the men asked her to do. Afterward, she asks Walter if they can move, and he says yes, in a few weeks, surprisingly. The next day, Bobbie and Joanna actually go looking for houses. Bobbie asks Joanna if she can watch her kids for the weekend, so she and her husband can go away to celebrate their anniversary. Joanna obliges, much to Walter’s chagrin, and he begins to get annoyed with all the noise. Bobbie’s children also have a huge dog, and Joanna feels it will be good for her kids since no one can find Fred. Joanna gets some inspiration and begins to photograph the children playing. She takes them back to a guy who rejected her work before, and he tells her they are quite good. Joanna is elated, and cannot wait to tell Bobbie.

 When she reaches Bobbie’s house, she is horrified to learn that whatever is taking over Stepford has now also taken over her best friend. She’s wearing a new push-up bra, dressed in the typical conservative housewife attire, and cleaning and scrubbing like there’s no tomorrow. She’s speaking as if she has no personality, and doesn’t understand why Joanna is so upset. Joanna absolutely freaks out and rushes home. Walter has no problem with it, saying it’s about time she cleaned her house, and tells Joanna she needs to see a therapist. She complies, but finds one out of the county, a very nice woman who listens, totally non-judgemental, to every crazy-sounding story she relates. The woman tells her to pack up her kids and leave if she’s that scared, and to call her in a few days when she gets back from a trip. This scene always reminds me of when Rosemary goes to visit Dr. Hill in Rosemary’s Baby, not surprisingly. Joanna rushes home to find her kids aren’t there. The house is dark, and Walter is drinking himself into a stupor. He tries to force her to go to bed, and he attacks her. She makes her way out of the house, as Walter calls his Association buddies. Now everyone’s out looking for her.

Joanna runs to Bobbie’s place, hoping she can get through to her. She tells Bobbie that she’s a robot and asks her if she bleeds. Joanna cuts her own hand, drawing blood, to which Bobbie replies, “Why, look at your hand!” Joanna promptly jams the knife into her friend’s stomach, and nothing happens. She simply says, “Joanna, how could you do a thing like that? When I was only going to give you coffee?” Bobbie repeats this over and over, as she walks back and forth in the kitchen, dropping coffee cups each time. Clearly, she is shorting out, much like Mrs. Van Sant did several times. Joanna ends up going back to her house and whacks Walter over the head with a fireplace poker. He tells her the kids are at the Men’s Association house, and she goes there.

Up the stairs, she hears her children calling. Turns out, it’s only a recording, and she finds Dick Coba waiting for her. He explains that it’s not as bad as she thinks, and that it is good for everyone. She asks him why, to which he responds, “Because we can”. She turns and runs and ends up in a room that is exactly identical to her own, and Fred the dog is there. She is utterly speechless, and even more horrified when she glances over and sees her doppelgänger, sitting at a vanity, brushing her hair. All of Joanna’s so-called imperfections are gone. She has much bigger breasts, bigger eyes, but is still exactly the same. Her double begins walking towards her, smiling, with a silk scarf in her hand, as Dick Coba pets Fred and watches in delight. It is implied that she has killed the real Joanna, because the next scene is at the grocery store, with all the perfect little Stepford Wives going about their shopping. They politely say hello to one another and move on. The last woman we see says hello to the now-perfected Bobbie, and when she turns, it is Joanna, looking beautiful of course, but it isn’t really her. She stares blankly into the camera as the credits roll. During the credits, we see shots of the perfect family; Walter smiling ridiculously, the children and the dog in the backseat, and Joanna sitting quietly and “lady-like” in the passenger seat.

Okay, so I told you the whole movie. Sorry, I tend to do that, especially when it’s a movie I love. I’m sure everyone knows what happened anyway, since the phrase “Stepford-insert-person-or-title-here” is pretty much a cultural thing now. It’s so beautifully shot, and extremely haunting in its portrayal. Some may believe it’s dated, but I don’t think so. If anything, it’s more relatable these days than one might think. With the ongoing war on women and their rights in this country, as well as all over the world, this film definitely strikes a chord. Ira Levin was definitely ahead of his time, but I think he meant to be. He said something about American society that no one dared speak of. He made it okay to talk about the absolute worst possible scenario imaginable, and how we must not ever sink to this level.

This film portrays subtle yet forceful misogyny in its most extreme form, as it becomes acceptable and even encouraged by the town’s men, and eventually even Joanna’s husband, Walter. This is why I feel he had tears in his eyes after one of the meetings – he was told about it, and was struggling internally with his decision. This also reminds me of Rosemary’s Baby, when Guy is looking strangely at Roman after they talked. Obviously, Walter gave in, and I think that may have been why he began drinking more and not paying as much attention to her. He was trying to distance himself from any responsibility or guilt he may have had at one time. Apparently, any guilt he felt was soon washed away when he became convinced that life would be much better and easier for him if his wife had no hobbies, no interests, no personality, and only lived to serve him and his needs and wants. It’s a very sad commentary on society that this would even be thought of, but Ira Levin makes the viewer, whether male or female, really think about the ongoing inequalities in society. They may not be this blatant or prevalent, but it still does exist. Although the average viewer will get what’s going on much earlier on in the film than Joanna herself, it is still creepy and haunting to watch her slowly unravel and realize what is happening in Stepford, and even her own home. One scene that always stood out to me was when Bobbie has been changed and can’t remember what archaic means. At one of the wanna-be women’s club meetings before, she knew what it meant. Joanna realizes it was not on the ‘word list’ and it sinks in that she had been in on her undoing all along by reciting words into that recorder. Also, all the women who had been changed all have their portraits done, just as Joanna had, and she was initially flattered by it. At the end, Coba even tries to justify his actions by trying to convince Joanna that it’d be the same thing if she had some “stud” around the house, answering her every request. This just shows how twisted their thinking is, and how far people go to justify situations in their own minds. I was almost insulted when this movie was remade (we all know my love-hate relationship with remakes), but to make matters worse, it was a comedy! It was supposed to be funny! I don’t know about you, but I think that really cheapened the source material as the issues at work in the story are anything but funny. It shifted the real point behind the plot, and I found that really disingenuous. If anyone ever needed a reason to hate the idea of a remake, it’s this right here.


This movie is, well, like somewhat of a bad acid trip. Though I don’t know personally, I can only imagine it might bear similarity to this film. We have the jittery camera action, which at some points can nearly give you motion sickness. It is almost all filmed in black and white. There is virtually no dialogue, with the exception of a narrator, a nurse verbally expressing her thoughts offscreen, and an interview with a witness scattered intermittently throughout. And how many times can we watch snow falling?! In fact, much of this film is spent watching snow falling, blood oozing, records spinning, or differing organisms scurrying around under a microscope lens. The music is ridiculous and almost comical at times, and some of it seemed to come straight out of a bad techno party. The acting is at its worst terrible and at its best mediocre. Did I mention it is four and a half hours long?

That said, I would be remiss not to mention that some of these scenes in the film are rather gruesome (cockroach, enough said), but most are clearly, obviously, painstakingly FAKE. It is also necessary to mention that these reenactments, in pseudo-documentary format (gritty, shaking camera and all), are based on true events that occurred at Japanese Unit 731 from the 1930s through to about 1945. They conducted inhumane, horrific experiments on the prisoners that have gone down in history as some of the worst atrocities man can inflict on man, including biological and chemical warfare. Some of the scenes portrayed are seemingly medically inaccurate and are no doubt used for shock value, to enhance the already horrendous nature of what actually occurred. One fictional aspect was that two of those involved in these diabolical “experiments” felt a modicum of sympathy for these unfortunate souls, but of course, they were “only following orders” (don’t get me started on that bullshit). I feel that the level of gore mixed with the awful special effects did somewhat of a disservice to those victims who truly deserve respect and remembrance for the brutality they endured. I am highly ambivalent about this film, leaning somewhere between pure genius and utter stupidity and disrespect. The cheesy effects went so far past believable that I don’t know how any gullible person could think this is actually real. The stories are based in fact, the movie’s images themselves are not. Come to think of it, the worse the effects got, and how far beyond they went actually detracted from the fact that we are supposed to be feeling sorry for these victims. We do in real life, of course, but in this long-winded portrayal, you are almost sitting there, sarcastically saying, “Oh, come on…geez….ahh, more snow, great..”.

Several of the scenes are utterly implausible, and like I said, so far beyond fake it is almost amusing. I do believe some of the archival footage and a few photo stills may be real, but in other instances, it’s like watching something out of a haunted house. However, it also finds some way to grab your attention in certain parts, and makes you really depressed. These are people. People doing these things to other people. How can we wrap our brains around this madness? It more serves as a gross-out movie more than one that could provoke any real emotion, at least for the majority of it. I cannot, in good conscience, recommend this movie, as I feel it does virtually little to nothing to promote the cause of these tragic victims, their pain, and their place in history, and I almost found it a little insulting. It is slightly uncomfortable in the more quiet sequences, but once the violence kicks in, you remember it’s all fake. We need to remember the victims of wartime atrocities, not exploit them. But if you want to give it a go, be my guest! You might fall asleep for the first hour or so, and its a long ride, so it’d be best to put on a pot of coffee.


Based on a book of the same name, Mysterious Skin tells the harrowing story of two young men, struggling to cope with and understand their past. Neil McCormick (the amazingly talented Joseph Gordon-Levitt) has broken out into hustling, or basically male prostitution, while Brian Lackey (excellently portrayed by Brady Corbet) has become introverted, and convinced that he was abducted by aliens as a child. When in reality, they were both sexually abused by their seemingly loving baseball coach. Brian’s introversion shows how differently we all cope with trauma in our lives and how we revert to the unknown to explain a tragedy that as a child he could not possibly comprehend. Neil, on the other hand, is gay, and uses his good looks and sexual prowess to make money. This is also an example of rationalizing, whereas Brian became sullen, Neil broke out and rebelled and doesn’t seem to give a shit anymore.

Neil’s memory versus Brian’s memory. 

This movie is incredibly powerful and not to be missed. It does have some very uncomfortable and controversial moments, which adds to its magnetism. The actors are incredible, and the story will rip your heart out. I feel this is an important film, because it takes the true nature of sexual abuse and childhood trauma, and shows what can happen later in life, and how everyone’s perceptions and reactions to said trauma are different. Neil comes across many unsavory and violent men in his “line of work” and it seems he really hates himself on some level, while Brian gets involved with a girl who also believes she was abducted by aliens. Eventually, Brian is informed of the truth by Neil, where he breaks down in one absolutely astounding scene. Neil and Brian have obviously never told anyone about what happened, except maybe for Neil, who has a best friend in Wendy (Michelle Trachtenberg). She is concerned about what he does for money, and hates to see him fall into a black hole of himself.

 Through a series of flashbacks, we as viewers are exposed to the awful truth and reality of child sexual abuse, and the grooming process that pedophiles engage in to gain the child’s trust. This is a rather disturbing movie, but reality itself is disturbing, and this kind of thing happens all the time. We may never know how often it really happens, because as the film shows, the human psyche will detach from the trauma in order to preserve itself. Neil becomes a sexualized, rebellious teenager, who virtually has no intention of dredging up the past, whereas Brian engulfs himself in an unrealistic fantasy in order to process what he endured. By the end, they both come to the realization that they must, in fact, deal with the past, and ascertain how it has changed them so drastically. This movie is definitely heartbreaking, but it is so well-acted, that you can feel every emotion, every uncomfortable moment, and every sadness that these main characters feel, as well as the growing distance between the loved ones around them.

As raw as this film is, it is realistic and likely reminiscent of what some people have gone through in their lives. If you ever wanted to get a glimpse into the mind of a person who has been physically and psychologically damaged, this one is the one to watch. The main characters are still child-like in some of their actions and emotions, which gives credence to the childhood that was so violently and horribly stolen from them. I highly recommend this film, but it is very graphic, just to let you know. I feel that it truly adds to the tension and subject matter of the movie, and is completely necessary to get the point across. People have to be slapped in the face these days to get the point, and this film does just that. It’s one of the best I have ever seen.


“A lesson in brutality”. That tagline is putting it mildly. This film, released in 2009 and directed by Uwe Boll, features a magnetic and frightening performance by Edward Furlong. I love him, and despite the troubles in his personal life, I still think he’s a hell of an actor. The fact is, in this film, it doesn’t even matter who the actors are, because the characters are so terrifying and depraved, that you, at some point, start to forget that these are actors playing parts. They are so convincing, dark and sadistic. The fact that this is based on a real incident in a German juvenile detention center in 2006 is even more troubling.

The story revolves around three cellmates who, after playing a particularly heated poker game, decided to gang up on the fourth. Not just gang up - I mean beat, torture, humiliate, and make fun of. This film is so real and raw and disturbing; there’s just something about it that really got under my skin. As you guys know, I have watched some really messed up stuff, but this one truly got to me. Either it was because it’s based on a true story, or because the acting was so convincing. Maybe it was because in this movie, which takes place primarily in a prison cell, the characters cannot escape, period. I have always been both fascinated by, and revolted by the actions that human beings take against one another, and this is a perfect example of that. Can we all just take a collective sigh of relief that we are not in prison? Whew…okay, that feels better. But it’s no consolation. This movie is very well-made, but it will likely not be one you’ll want to watch more than once or twice. After reading a review from the eclectic JDC-Witherton, I decided to give this film a go. I’m glad I did, but it definitely left me thinking about it long after it was through. From the beginning, knowing the synopsis, it makes you a bit nervous, and you’ll either bite your nails or smoke a cigarette. Maybe both. A very intense film, you’ll be kind of thankful that it’s only 90 minutes. Once again, I paused in giving any specifics in case you want to venture into this film as I did. Since I don’t think that many people have seen this one, I’d like to leave everyone with an open mind when it comes to the details. Happy viewing…..you’ll need it! :-D


Dear Mr. Gacy is the real life journey into madness by a young college student, obsessed with serial killers and their motives. William Forsythe stars as the sadistic endomorph John Wayne Gacy, and Jesse Moss brilliantly portrays student Jason Moss (last names coincidental). Jason has decided to write his thesis on serial killers, and more specifically John Wayne Gacy, brutal murderer of at least 33 boys and young men in the Chicago area in the 1970s. Gacy is close to being executed when Jason begins his project. He does what many people interested in killers have thought about doing – writing them a letter – but Jason actually hears back. He has pretended to be younger than he is, and unsure of his sexuality and his family life in order to lure Gacy in. Jason sends Gacy partially nude photos of himself to attract him. He wants Gacy to admit to and explain his crimes by gaining his trust and acting vulnerable to his true intentions. He has no idea just what he is getting himself into and to what degree this “school project” will affect his life in every area. Gacy even tries to convince Jason to have sexual relations with his little brother. As time goes on, it is not clear as to who is fooling whom. Waking moments and sleeping moments are now consumed by Gacy and his all-hours phone calls to Jason, and he cannot seem to break free from his grip. It begins to unravel as everything in Jason’s life becomes Gacy and he cannot even recognize himself anymore.

This film is so well-made, and Forsythe is a genius at being Gacy. Though he doesn’t look the part 100%, it really is irrelevant because he has the frightening personality and deadly charm of Gacy, and his intentions that are about as subtle as a brick crashing through a window. The real Jason subsequently wrote a book about his experiences, which I’ve read, and is a very intriguing account of what resulted because of one life-changing decision. Sadly, the real Jason Moss committed suicide in 2006, and it was believed that he never truly got over what it was like to be inside the mind and fixation of someone truly evil. I would absolutely recommend this movie, as well as the book, The Last Victim. It makes one realize how terrifying human beings can really be, and what can happen to you if you are not careful.

The Last Victim; and a photo of the real John Wayne Gacy and Jason Moss. 


Oh, to be a writer. To be famous. To be respected. To be revered. To be…..the object of an obsessive fan who has no intentions of letting her prize go. That last part might have some of us rethinking our respective career choices, no matter what they may be. From the dark, brilliant mind of Stephen King, and adapted into film by Rob Reiner, we get Misery, which is, if you think about it, a play on words. Misery is both what our main character endures and what he writes, that is, the titular character of his ever-famous series of novels. Ones that Annie Wilkes could probably recite in her sleep. We meet Paul Sheldon, speaking to his publicist about his new novel, where he decides to kill of that beloved main character, Misery Chastain. He could never imagine what horrors await him because of this life-changing decision. He has always gone to the Silver Creek Lodge to write his novels, as it has become his ritual and part of his good luck charm. As he leaves, a huge blizzard breaks out, and already we know there is going to be major, hardcore trouble. His car skids off the road, down a cliff, and he is seemingly stranded….until a bulky, bundled-up nurse, Annie Wilkes, “stumbles” upon him, and takes him to her house to nurse him back to health.

Already we think this is kind of weird, but only because we know that whatever happens in the first five minutes of a movie usually foreshadows what is to come. He has horrible injuries and cannot move without being in pain, and for a few days, doesn’t know who or where he is. Waking up, he learns that Annie is “his number one fan”. She really means it, and slowly begins to prove it. Grateful, Paul gives into his pain and continues to rest. Annie makes her feelings clear when she asks to read his new manuscript that she also rescued from the snow-covered vehicle. He obliges, but soon learns this might not have been the best decision. She is offended by the profanity within, and lets him know by flying off the handle, and revealing some serious sociopathic behavior. Paul, a little concerned, lets the incident go. Then, she asks him to burn his new manuscript, because it is filth and she believes God has entrusted her with his care and rehabilitation. Completely in shock, he complies after he realizes she has sprayed him with lighter fluid as well, and that she is basically his only path to survival as he is confined in bed. Meanwhile, Paul’s publicist has begun to worry about him not showing up on time, and calls down to Silver Creek. The sheriff and his wife (who damn near steal the show with their sarcastic, adorable flirtations), ask around, and find out he left on time, just never made it back to New York. He notices Annie in town, yelling at a driver for cutting her off, and asks about her. He discovers she’s always the first to buy Sheldon’s new books at the store, and that she has recently come in to purchase typing paper. Hmmm….what could she need that for? Well, she’s lost her mind when she reads that Misery Chastain has been killed off in the latest novel, and makes Paul write a new version! Any shred of sympathy we might have had for Annie Wilkes is now long gone.

Paul now knows that he has to remain calm and pacify Annie if he is to survive this psychotic ordeal he’s found himself in. After Annie discovers he’s been getting out of his room (she locks him in), she decides to hobble him. That is, break his fucking ankles so he cannot escape again. This scene is one of the most iconic in horror history, well, movie history in general, for that matter. It makes us all cringe, and damn it, it looks real, doesn’t it? After recovering a little, she still wants her Misery back. He begins writing feverishly, and we can tell he has some sort of plan in mind. The sheriff has now decided to go out to Annie’s house and investigate. Annie sees him coming down the driveway and throws Paul down the stairs into the basement. Seriously, this guy’s poor legs, I mean, come on. The sheriff asks her some questions and she reveals her love of Sheldon and the Misery novels, and tells him that she has been so distraught at his “disappearance”, that she began to write her own novel (Paul’s forced manuscript). Not really finding anything interesting, the sheriff leaves, just as Paul knocks over a grill in the basement. Hearing this, the sheriff comes back into the house and sees Paul, and he is shot by Annie. Paul’s just about at the end of his rope, after Annie reveals that she plans to kill them both after he finishes Misery’s Return. He plans to trick her and tells her he loves her. This calms her down, for now. That night, he asks her to have dinner with him, and she is, of course, in heaven. Paul has threatened to burn the new novel that reveals all of Misery’s previous mysteries. He sets fire to it, and as Annie tries to put it out, he attacks her, as best he can in a wheelchair with virtually no use of his legs. She shoots him in the shoulder, but he is determined to make it. Eventually, he has won, and Annie is left dead on the floor, covered in blood.

Of course, a movie review cannot really do this film justice. It’s one of those that has to be experienced, as you embark into the horrifying world of complete, paranoia-inducing madness. This is a major classic that makes even the most hardened horror buff cringe (hobbling…yikes!). Anytime someone says they’re a “number one fan” of something, you will think of this movie. It is amazing how well Kathy Bates plays a psychopath. I mean, it’s uncanny. And for a man who spends nearly the entire movie in a bed being abused and terrified, James Caan definitely puts on one hell of a show. The setting is beautiful, and scary when you think about how far away you can really be from safety and civilization especially with broken legs. This is one movie that is not to be missed, and even if, by some small chance, you don’t like it, you will always remember it, and its villain, Annie Wilkes.



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