Tag Archives: revenge


This second part of my favorite scary movie moments series has sure taken a long time. As you know from previous posts, I’ve been very down lately. I’ve been trying to pick myself up though, and write when I can. Just because it isn’t published on here yet doesn’t mean I’m not writing anytime I get a dose of hitch in my giddy-up. I am. I might slowly but surely be coming back! As always, let me hear you! None of this means anything without you folks! This edition features a demon attached to a child, a psycho stalker with a knack for the telephone, a serial killer, and a vengeful British ghost. Hope you like the GIFS, but be gentle – it was my first time! ;)

Insidious (2011)

We all know that some people were bigger fans of Insidious than others. And while there were flaws in the film, there were quite a few startling, and unique scenes. Some were just plain brilliant, and the entire movie is visually innovative and appealing. It’s strange for me to say, knowing that this film was made by the people who created Saw (not scary – gory – but not scary), and Paranormal Activity (lame beyond lame, even refund-worthy). Not to mention, Patrick Wilson and Rose Byrne are two incredibly sexy human specimens. Here are my favorites moments!

1. Gettin’ Down to Tiny Tim

dancing boy

Not only is it incredibly horrifying to have a turn-of-the-century dead ghost child dancing terribly in your house, he’s also groovin’ to Tiny Tim’s “Tiptoe Through the Tulips”, which is creepy in itself. Not that I’m not now addicted to that song, and classify it as one of my many guilty pleasures, but mixing the two together, especially in broad daylight, creates one scene none of us are likely to forget.

2. Creepy Demon in the Room

demon in room

Anytime there is some kind of demonic creature, or any creature for that matter lurking in the shadows, especially one with elongated arms, pointy fingers, and what looks to be perhaps cloven hooves, it creeps me out. Obviously, it’s because it’s unexpected – it’s the jump factor – but you gotta admit, that creep standing there is enough to make you check your own room before jumping into bed!

3. Creepy Demon in the Room Again

demon insidious

Okay, so this scene is up for much debate, as some found it totally scary, and others simply saw a bad Darth Maul rip-off, but as before, the jump factor is present. While talking to his mother (a very nicely aging Barbara Hershey) and his wife about the weird goings-on, this cosmetically-pleasing, red-faced punk appears behind Josh, opening its mouth and revealing his, well, sort-of-razor-sharp teeth. As usual, the creature is only on-screen momentarily, and quickly disappears as Josh’s mother shrieks in horror and jumps up from her chair.

The Woman in Black (2012)

the-woman-in-black-15

I did have serious misgivings going into this film, because most horror flicks these days, well, bite the big one. But I was pleasantly surprised! It’s nice to see Daniel Radcliffe in something else (HP is not my cup of tea, if you’ll forgive the British reference), but he is actually pretty sexy in this movie. Oh, he can act, too! Of course. :) As is usually the case, once we find out the motive behind the ghost’s vengeful haunting, it’s not so scary. But the build-up is the most important aspect, and this movie has it…..in spades!

1. The Marsh….Itself!

house and marsh

Does this really need any explaining? The setting of the movie itself is enough to scare someone, without even adding the ghost element to the mix. Just look at it! If you have to go through that, and that, and that, to get to that, it’s a bad idea. Just say no.

2. Bad Rocking Chair

bad rocking chair

This house is full of secrets, and of course, the usual creaky floors, awkward silences, and startling BANGS just as you put some delicious popcorn in your mouth (trust me, I know). But rocking chairs that move by themselves (or not….) have always given me the willies. There’s something about them, but I’ve never been able to put my finger on it. Not to mention, this chair rocks backwards unexpectedly far, which sort of looks like fun! Not so fun when we get a glimpse of the horrid witchy bitch causing the ruckus, and Harry Potter is none the wiser.

3. Dead Boy Returns

house sequence

More creepy sequences in the house of doom, Harry Potter watches as the little dead boy rises from his mucky grave in the marsh, and books it to the front door. Well, he doesn’t book it, ghosts always walk, yet somehow get to where they’re going incredibly fast. So does Jason Voorhees. And Michael Myers. But I digress. The little dog who has been sent to keep our hero company begins barking at the door, as the knob begins to rattle. Dogs are smarter than people, how many times must I say this?! Upon opening the door, no one is there, but in the distance there appears several more young dead children, looking horribly soaked from the rain. Or just from being dead. The little boy pulls a jump scene, covered in mud, with his mouth open, a few short scenes later. So does the Woman in Black, several times. Why do scary characters always have to have their mouths open? I’m unclear on this.

When a Stranger Calls (1979)

This often-quoted, frequently criticized gem from 1979 is part cheesy detective story, part psychologically horrifying thriller. The latter is the reason for its mention on my list. The opening sequence is a classic, even if most of us could totally do without the rest of the movie! The “Babysitter and the Man Upstairs” urban legend comes to life!

1.Opening Sequence

the call

Ahh, the classic opening sequence, which still stands the test of time today, is absolutely terrifying. First of all, the phone ringing constantly is just plain annoying. Not helping matters is when the caller is taunting, tormenting, harassing, and scaring the receiver half to death, after having killed the two children upstairs sleeping in the babysitter’s care. Carol Kane delivers an Earth-shattering performance, and really portrays fear well. The calls are coming from upstairs (somehow, I’ve yet to figure this out), and Jill is saved only because the operator was able to trace the call, and warn her to leave the house, just as killer Curt Duncan emerges from the shadows. Phones are creepy, don’t you agree?!

2. Psycho Stalks Another

stranger calls tracy

When the killer escapes his confinement in an insane asylum, he approaches a woman at a bar. I mention this scene because, as a woman, well, even just as a human, I know the apprehension and fear of being around someone who is not all ‘there’ in the head’. We have gut instincts for a reason, and this woman, Tracy, followed hers by pacifying the creep when he follows her home, lets himself into her house, and sits down on her couch for a spell. She convinces him to come back another time, which grants her a temporary reprieve from his wily charms. That was not a compliment. Later, he comes back to kill her, but is finally stopped by the detective who has been hunting him since his escape. Whew, that was a close one!

Zodiac (2007)

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A David Fincher masterpiece, Zodiac is one of my favorite movies. It’s one of those few near-perfections in life, and the psychological thrills have definitely been burned into my mind. Chasing a killer that to this day has never been apprehended is scary to begin with, but the way it consumes cartoonist Robert Graysmith’s life is inspiring, mind-numbing, and depressing all at the same time.

1. Lake Berryessa Terror

lake berryessa

I have referenced this scene before in other posts, but when Cecelia Shepard and Bryan Hartnell are tormented and stabbed at the lake, it goes through me like few other things have. Cecelia’s screams are enough to give anyone the chills, as she watches her date being stabbed in the back repeatedly, dreading her own turn at the hands of the Zodiac Killer. Utterly horrifying, because it isn’t demons, or ghosts, or any other supernatural being, it’s a human doing this to another human, on purpose, and enjoying it.

2. Arthur Leigh Allen’s Interview

arthur gif

After incriminating tips from a former friend lead Inspectors Toschi, Armstrong, and Sgt. Mulanax from San Francisco and Vallejo to pay Arthur Leigh Allen a visit, we get a wonderfully crafted and chilling scene, which, if one did not know any better, would absolutely convince us that he was the Zodiac. Though DNA “cleared” him decades after the murders and his own death, I myself am still convinced he was involved somehow. Too many coincidences. Anyway, John Carroll Lynch portrays pedophile creepster Allen with quiet but menacing calmness, even proclaiming, in a deeper voice, “I’m not the Zodiac, and if I was, I certainly wouldn’t tell you.” Shudder.

3. A Visit to Bob Vaughn

bob vaughn gif

After years of indirectly being around the Zodiac investigation at the San Francisco Chronicle where he worked as a cartoonist, Robert Graysmith plays detective, and decides to put an end to the mystery once and for all. He never officially succeeds, as the case remains open, but in one such instance, he happens upon some movie posters that contain handwriting strikingly similar to the Zodiac’s. It turns out the man he goes to speak with about the suspected killer, Rick Marshall, Bob Vaughn, drew the posters himself. This causes Graysmith to automatically suspect him in the crimes, and when he ventures to the basement to find out when his theater played The Most Dangerous Game, Graysmith hears footsteps and creaking from upstairs. He questions several times if anyone else is in the house, and Vaughn (Charles Fleischer) is quietly creepy throughout, adding to our own suspense and tension. We begin to question him ourselves! This scene always freaks me out – it is so wonderfully filmed. It also gives us a different perspective on the murders. Perfectly brilliant and nerve-wracking.

Thank you for reading!


I first saw this movie years ago, and found it completely ridiculous. I bought it a few years ago on DVD, to be a completist, and recently watched it for the first time in forever. And it was…..just as stupid as I remember. Even more so, actually. I found a few likeable sequences, and a few good character traits in our final girl, but honestly, I could completely do without this one. That said, I definitely liked the Breakfast Club arrangement of the cast on the poster. This one is crazy, absolutely crazy. Not good crazy - idiotic, mind-numbing, will-it-ever-end crazy.

We get the typical introduction about the past crimes of the chainsaw-wielding family, and then, we’re introduced to two fucking punk ass teenagers, driving along the back roads of Texas. They’re drinking, listening to the radio, and destroying property. Didn’t we all do that? Uhh, no. Anyway, they play chicken with this truck driver, running him off the road, and they really shouldn’t have done that. They call into the radio station to speak to the host, Stretch, a pretty, resourceful young woman, who they begin to harass. They refuse to stop and won’t hang up the phone, which I don’t really get. I mean, I don’t know how radio stations work, but if I want to not talk to someone anymore, I hang up the phone…but that’s just me. Later on, they call again, as they encounter the truck from earlier. It begins taunting them, driving right alongside them. Leatherface, wearing some kind of creepy get-up begins chainsawing their car, and eventually cuts the top of the teen driver’s head off. The kids crash, and Stretch hears the whole horrific encounter. The next morning, investigators are on the scene, collecting evidence from the crash. A former Texas Ranger, Lt. Lefty Enright, (what kind of fucking name is that, really?!), played by Dennis Hopper, comes upon the crash, and believes the chainsaw murderers are behind it. Other cops tell him to get lost, but he’s determined to get justice for his niece and nephew, Sally and Franklin Hardesty, from 13 years ago.

Lefty somehow convinces a local newspaper to run the story he’s chasing, prompting a visit from Stretch, who tries to get him to listen to the tape of the murders. He brushes her off for some reason, and she goes back downstairs. The hotel is hosting a Texas-Oklahoma Chili Cook-Off – the winner turns out to be Drayton Sawyer (The Cook from the original). Everyone wants to know the secret to his fantastic meat, but he’s keeping his lips zipped. She and her partner L.G. record a report of the cook-off, and leave. Lefty goes to a chainsaw store, and purchases three, two small, and one huge one, to which he lays down about 600 or so bucks in cash. He meets Stretch back at her station, saying he’s changed his mind. He wants her to broadcast the tape every hour in hopes of gaining tips and information. She’s reluctant, but agrees. On his way home from receiving the chili award, Drayton gets a phone call from his family, telling him that the radio is playing a tape of the murders. After listening to the tape for what seems like forever, L.G. goes to get food, and Stretch is left alone. She hears a noise and goes investigating.

Stretch comes upon a terrifyingly hideous man in a wig, sitting on the couch. He tells her she’s his favorite, and talks about a bunch of weird things. She asks him to leave, trying to keep him calm, because he keeps burning a metal hanger with a lighter, scratching his head with it, and licking it. Gross. This guy (Bill Moseley, one of the only good things about the movie) has horrendous teeth, and isn’t very fashionable. He’s freaking her out, and she gives him a mini-tour to pacify him. As he enters the record room, he flips the light on, revealing Leatherface with his cranked up chainsaw. Leatherface chases her throughout the station, as she eventually barricades herself in a room behind a huge metal door. In the process, he has knocked off Chop-Top’s wig, revealing a large nasty plate in his head, which is not covered by skin. That’s what he was picking at with the hanger, which makes it even more icky. Stretch is relieved when the buzzing stops.

Leatherface goes back out to confront L.G., who has now returned with some drinks. He knocks him down, and Chop-Top proceeds to bash him about the head with a hammer for what seems like an eternity. He tells Leatherface to finish the girl off, and he breaks into the room from the other side. She attempts to distract him by acting sexually towards him. He replies by grossly licking his lips, and running the now-off chainsaw up her thigh into her crotch. She pretends to like it to make him not want to kill her, and it works. She tells him he’s good, and seriously, watching Leatherface get horny is extremely disturbing in itself. He freaks out again, apparently sexually frustrated (come on dude, look at yourself, you’re wearing someone else’s face). He doesn’t kill her though, but goes back downstairs and tells Chop-Top he did. They drag off L.G., hop in their truck, and drive away.

Ugh, I’m sort of already sick of talking about this one, and for me, that’s pretty rare. There’s just no umph, no spark in this sequel. Anyway, Stretch is pissed that the murderers showed up and Lefty wasn’t there, so she follows them. Makes sense? No, but it’s a movie. They’re going to their home, which is located underground in some sort of abandoned theme park or something ridiculous. She gets out of the car, and someone begins chasing her in a vehicle. It’s only Lefty (can we please change his name?!), and as her face shows relief, the ground opens up beneath her feet, and she starts falling. Lefty tries to help her by reaching out with a skeletonized arm. She grabs its bony fingers, but we all know how frail dead limbs are, so it breaks and she falls for what seems like forever. Now, Lefty is even more determined, and straps the chainsaws to himself in full militia style, which by the way, looks utterly ridiculous. Normally, I don’t mind revenge aspects, but this is just too much. I know it’s supposed to be dark comedy, but I don’t get that at all. It’s more like……ridiculous. Yes, I’m aware that I’ve used the word ‘ridiculous’ several times, but it’s really the best adjective for this film.

So he bursts in the joint, guns….I mean, chainsaws blazing, and starts tearing the place apart, making his way from room to room. Stretch hides as she sees Leatherface begin to undress and skin parts of her friend, L.G. He removes his face, and hangs it on a meat hook. He notices Stretch, and tries to attack her. She tells him “no good”, and he stops. He goes over and grabs L.G.’s face, and places it on hers, as well as his cowboy hat. She’s lookin’ really freaky and bloody, and Leatherface begins to dance with her. Suddenly, Lefty’s destruction upstairs causes debris to fall on them, and Leatherface must hide her again.

Leatherface goes to the rest of his family, while Stretch discovers that L.G. isn’t dead. He gets up and begins wandering around with no skin on his face or the right side of his chest, his ribs exposed. He cuts the ties binding Stretch’s hands, and falls down, finally dead. She gives his face and cowboy hat back to their rightful owner. Stretch escapes the room and starts running, but she is noticed by the family. Meanwhile, Lefty is still cutting a path of destruction looking for the killers. He comes upon Franklin’s skeleton, still mangled and sitting in his wheelchair from thirteen years earlier. Lefty’s even more pissed now, and continues his quest for revenge.

Stretch runs into Leatherface in a long tunnel thing, and he begins chasing her. Finally confronted, his family catches up, and starts talking how about how Bubba’s got a girlfriend, and they want her to stay for dinner. Drayton tells Leather to finish her off, but he won’t do it. She begs him to help her, but Chop-Top continues to act insane and harass her while carrying around a dead body. Leatherface begins hitting his head against a light fixture, and Stretch wakes up at the dinner table, as usual.

At supper, Stretch is tied to the table, and the family goes to get Grandpa. She screams at Leatherface to let her go, but he simply can’t bring himself to defy his relatives. They drag her from the table, and try to get Grandpa to bash her in the head with a hammer, just like in the original. He’s too weak to do any real damage, but eventually does knock her unconscious. Lefty bursts in with his chainsaw, and confronts the family. Drayton, I guess, doesn’t realize what he’s pissed about, and thinks it’s concerning his meat, his business, and him winning the chili cook-off. He soon takes him a bit more seriously, and as he turns to get away, he is chainsawed in the butt. It doesn’t kill him though, and he hides under the table. Lefty and Leatherface get into a chainsaw match of pretty fantastic proportions, including on top of the table that Drayton is hiding beneath. He frees Stretch and tells her to run. She does, with Chop-Top right behind her.

Lefty eventually plunges the chainsaw into Leatherface’s stomach, but somehow he’s still fighting. Under the table, however, Drayton figures his only way out is to use the grenade hidden in one of the dead body’s pocket. He pulls the pin out, and a few minutes later, as Lefty raises his two small chainsaws in victory, it falls to the floor. It’s not really shown, but it’s assumed that the place blows up. I guess. I mean, this movie is so crazy, no one can tell what the fuck is going on half the time. Stretch makes her way across a bridge, and is attacked by Chop-Top, but she uses electricity to zap his metal plate, causing him to spaz out for a while. She sees the most obvious EXIT sign ever, and takes the flight of stairs. She gets out of the building finally, and climbs up some kind of rock structure with even more stairs.

That loony fuck Chop-Top is still behind her, and as he gets closer, she bites the shit out of him. She attacks him from behind, causing him to lose his balance, and hang on for dear life to the staircase. Well, of course, he makes it back up to the top. Stretch finds herself in some sort of altar thing that’s some sort of shrine to the Sawyer grandmother, as she sits, dead and rotting, with flowing gray hair, chainsaw in tow. Chop-Top arrives, and begins cutting his own throat several times, as Stretch reaches for the chainsaw on Grandma’s lap. He tells her to leave the woman alone, but she cuts him in the stomach and he falls backwards off the mountain. Emerging victorious, and now clearly nuts as well, she begins cheering, and swinging the chainsaw around, as Leatherface does at the end of nearly every movie.

Wow, so, this movie is……incredibly repetitive, manic (and not in a good way), confusing, cheesy, boring in most parts, and too long. Not that I have an issue with long movies in general, just long movies that feature nothing but the same people running around, screaming the entire time, and never getting anywhere. As you can probably tell, this is my least favorite Chainsaw film. I didn’t like it before, and I don’t like it now. I don’t hate it, it’s just that I couldn’t get into it. I rolled my eyes several times, and found myself getting verrryyyy sleeeepppy. Someone, please give me a few redeeming qualities about this film, besides Chop-Top’s character, and the unique, creepy chainsaw-in-the-crotch part. This is so far removed from the original. It’s honestly hard to believe they were both directed by the same guy. I just think the story became quite ludicrous, and it held none of the gritty, grindhouse, snuff-film feeling you get from the first one. I liked Stretch as the radio DJ, but after a while, her screaming really got on my nerves, and it just felt too forced. Jim Siedow and Bill Moseley were brilliant as usual, but the rest of the movie didn’t fit their genius. Dennis Hopper’s Lefty Enright was just…..I don’t know. Ridiculous? Not vengeful enough? Half insane himself? The character was just so weird, and weird in a way I didn’t get. Usually, weird is good, but in this case, it was like his character was pulled from a different movie and placed in a slasher film loaded with chainsaws and no direction as to what to do, what to say, or where to go. This is definitely not the best Chainsaw film, it’s the worst. You could completely skip this one, and miss, virtually, nothing from the story or the series as a whole.


Okay, so, if you haven’t seen this yet, I strongly urge you to do so. As much as I am on a different page than some people when it comes to good horror movies, I will definitely say that this is one of best, most refreshing horror movies I have seen in years. I couldn’t wait to see this, and it was even better than I imagined it would be. I am truly impressed.

Some people may think this film is nothing but violence and gore for its own sake, but it’s much more than that. As I write more about films, the more I realize how many I love that deal with human behavior and the potential for depravity. This is no exception. Besides being brilliantly directed by Lucky McKee, and partially written by the great Jack Ketchum, we get nothing less than a beautifully shot, haunting tale of a so-called family man who captures a wild, cannibalistic woman in the woods and keeps her confined in the cellar. The son is a virtual fucking psychopath following in his abusive father’s footsteps, the oldest daughter has nearly the same look on her face throughout the whole movie, and the wife is weak, despondent, and submissive, though it seems not willingly so. It’s been a while since a movie made me feel even slightly uncomfortable, so for me, that’s saying something.

 I’m not going to mention anything that happens, because if you’ve not seen it, do yourself a favor and watch it. Yeah, you may not like it (though I doubt it), but you will definitely never forget it. Okay, I can’t help it, I have to at least mention that the scene where the Woman bites off Chris’ finger is fucking DIVINE. The effects and the make-up are fantastic, and the acting…..wow. Pollyanna McIntosh did such an amazing job as the Woman that it’s hard to believe she’s only acting. If you have seen it, you know exactly what I am talking about. The music and its usage throughout is impeccable. The violence and gore never seems out of place, and always has a purpose. Hell, by the time you get to the end, and maybe even before, you will be rooting for The Woman. Honestly, I found myself yelling at the screen, doing that thing we all hate, where we try to tell the characters what to do and they just won’t listen. It’s infuriating, heart-pounding, and definitely intense, and I just really, really loved it. I will probably be doing a little bit more in-depth post about this at a later time, because I really don’t want to spoil it for anyone. As I’ve said before, this is one movie you just have to see for yourself!

 Now, go watch it!


A year after Sean Penn played the beloved Jeff Spicoli, he dove into the role of Mick O’ Brien, a troubled but sensitive youth who makes a terrible mistake and is sent away to a juvenile detention facility. This film also stars Ally Sheedy, Clancy Brown, and Esai Morales. Mick, in attempting to escape from the police, accidentally runs over and kills Paco Moreno’s little brother. Paco is his nemesis who is constantly making rude remarks to Mick’s girlfriend, J.C. (Sheedy). He is now out for revenge, while Mick is sent to juvie. Only this isn’t any regular juvie; these kids are brutal killers, rapists, drug addicts, and other forms of scum. Mick is housed with Horowitz, a smart kid who bombed a bowling alley, and becomes his friend. Mick feels terrible about what he’s done, as it truly was an accident, but comes to realize just what a mess he has caused for everyone in his life.

Mick is introduced to two guys who sell the cigarettes and other sought-after items and jack up the prices, and two other punks who basically serve as “barn bosses” because they’ve established their power and viciousness, Lofgren and Tweety. They are ruthless and pretty much make meals of any new meat on campus, and no one dares to tangle with them. The boy who arrived with Mick is brutally killed by Tweety, and of course, no one squeals. Mick realizes if he’s going to survive in this place, there’s gotta be a few changes made. He very brilliantly attacks Lofgren and breaks his nose with several soda cans stuffed into a pillow case (ouch!), and becomes barn boss himself. Now, he can get cigarette deals, pass out the weekly chores, and be head honcho. He is fair though, and gives the punks shitty work, and his friends good work; we love Robin Hood types around here! He also passes out the mail, and is revered for his new status as a firm but fair leader. Meanwhile, on the outside, Paco has vowed to avenge his little brother’s death, and violently rapes J.C. When Mick finds out, he and Horowitz make a plan to escape. Horowitz is captured, but Mick makes it to J.C.’s house where they are reunited for only a short time. An understanding guard comes to collect him, and takes him to an actual prison, and tells him this is where he’s going to end up if he doesn’t cut out the bullshit. Paco is arrested and ID’ed by J.C., and is sent to the same juvenile facility Mick is, because everywhere else is overcrowded. Now, everyone is hip to the situation, and begin placing bets on who will kill the other first. Naturally, Paco and Lofgren become buddies. Horowitz tries to help out by rigging a radio to blow up and kill Paco, but Lofgren gets the hit instead, and is injured. Horowitz is sent to solitary confinement, leaving Mick pretty much on his own.

Who will win? Well, I’m not going to tell you! Just watch it! This little gem is relatively unknown by many people, but deserves a lot of credit. It is gritty, realistic, and Sean Penn gives a magnificent performance, just as he always has. Part drama, part crime, this movie has something for everyone. It can be pretty brutal at times, which adds to the level of professionalism by this group of (young at the time) actors. The atmosphere itself is very tense, and just like in a real prison, you never really know what’s going to happen. The plotline itself could very well be set in any time period, but the grittiness and real-life look of many 80s movies makes this one special. When people look up Bad Boys, they will typically be hammered with the Will Smith action flicks, but this is definitely not that.


This movie is one of the most unique and original films I have seen in years, or ever. Normally, I do not go for ‘creature features’, but The Descent is so much more than that. Even if this wasn’t a horror film, the back story is enough to keep anyone interested. The story revolves around a group of young women, best friends, who are really into adventures and dangerous excursions. The fact that the movie is composed only of women is another example of just how brilliant it is. Pair that with unknown caverns and creatures, and you’ve got yourself one hell of a rare gem.

The main character, Sarah, and her friends are white-water rafting, and her daughter and husband show up. They set out to leave, and subsequently get into a horrific car wreck. Her daughter and husband are killed instantly. Fast forward to a year later, and the group is in America in the Appalachian Mountains, preparing to embark on another of their aventures. The ringleader of the group, Juno, decides they should go spelunking in a cave nearby. Unbeknownst to the rest of the group, Juno has never been in this cave before, and as far as she knows, no one else has either. This is only discovered after a tunnel collapses and the team is forced to move forward into the abyss.

Issues surrounding Juno’s ego ensue, as well as having to cross a chasm in the cave by way of rope and climbing equipment, and one of the girls breaking her leg badly. As they attempt to get out and reach help, they are attacked by subhuman-like creatures who appear  to be blind, albino, blood-thirsty hominids. They kill Holly, the one with the broken leg, and drag her away, as Juno tries to fight for her friend. Sarah, Beth, Sam, and Rebecca have scattered in different directions, but Beth comes back, and Juno, thinking it is another creature, hacks her in the neck with a pick-axe. Uh-oh. She leaves her friend to die and continues on. Sarah has discovered their lair of dead animals and bones, and with her hand-held camera on night vision, can see as they ravage Holly’s body. She then discovers Beth, not yet dead. She asks Sarah to put her out of her misery, but not before revealing that Juno did it to her, and that the necklace Juno wears is from Paul, Sarah’s deceased husband. Apparently, they had been having an affair for a long time, and Sarah had no idea. Rebecca and Sam attempt to fight back but are also killed.

So, it comes down to Juno and Sarah. Juno tells her that she watched Beth die at the hands of the creatures, which is Lie Number One. Sarah knows better. They continue to kick ass, but Sarah holds out the necklace, letting Juno know that she found out, thus confronting Lie Number Two. She jabs the pick-axe into Juno’s leg, and leaves her for the creatures. Does she survive? Does Sarah get out? Well. depending on the version you’ve seen, Sarah gets out and escapes in one, but is hallucinating and still trapped down below in another.

Released in the U.S. in 2006, this British film is nothing short of amazing. Anyone I know who has seen it definitely misjudged it, until they saw it. It is one of my favorites, and even though I own it, I watch it anytime it’s on television, as well! I love the tension surrounding the girls, with everyone trying to help Sarah recover, to the unrelenting ego of Juno, to them all fighting for their lives while fighting with themselves internally. It could not be better. Sometimes movies turn out to be simply magic, and everything falls into place. This is what happened for The Descent. Fabulous.


Last House on the Left (1972), is my all-time favorite movie. It is actually hard to explain, as many people do not understand why. In some respects, I do not understand either. There’s something about it, though. Perhaps it is the innocence of the “love-generation” being defiled and destroyed; not by someone in a far off place, or some demonic entity, but from people that are in our own midst. I do believe that is what the filmmakers were saying, like, “Hey, wake up from your dream, this shit really happens in today’s world”. Maybe it is a sad, brutal, satirical commentary on the changing world of the 1970s. Perhaps, it is just the music, which lulls you into a sense of security with the few upbeat, giddy tracks, then rips it to shreds in the next breath. Maybe I read too much into things, but this, to me, is what movies are all about, and those are the movies that are usually more successful, if not at the time, then later as it becomes a cult classic. I suppose it is all of these factors, mixed with the social climate of the era, the use of brutal violence to make a statement, and about making the viewer just uncomfortable enough to believe what we are seeing on screen can happen (and it does). This is why Last House on the Left is my favorite movie, and why I believe it has become so successful among later generations that discover it. With time, it becomes apparent that some individuals of that era, and still today, could not look past the celluloid images and see the film for what it is. The message behind it. It is a gritty, brilliant piece of filmmaking that people should respect, understand, and that Wes Craven probably did not know would be what many people consider a major highlight of his career.



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