The world of horror received two heavy blows in 2017, first with the passing of legendary filmmaker George A. Romero on July 16th, the man responsible for the seminal 1968 film Night of the Living Dead (and arguably the creator of the zombie film genre itself), and then once again with the loss of writer, director and producer Tobe Hooper on August 26th, the visionary behind the 1974 gut punch classic The Texas Chain Saw Massacre.
One week following the latter’s passing, I sat down with one of those pair’s peers, Fright Night and Child’s Play filmmaker and Psycho II writer (and a “Master of Horror” in his own right) Tom Holland at his home in the Hollywood Hills, to discuss over coffee his thoughts on those genre-defining films, which had sent both Romero and Hooper into the cinematic stratosphere, as well as his relationships with the men behind them.
“I saw it when it first came out, or very close to that time,” recalled Holland of his first viewing of Night of the Living Dead, “and I remember what I thought, was that the first one of those (types of films) was (director) Ubaldo Ragona’s 1964 movie The Last Man on Earth with Vincent Price, which I had seen prior, and I did know that the zombies in that film had somehow influenced Romero’s. The idea of that was there. And I remember a bit later that everyone that I knew at the time also seemed to know George Romero, because I had gotten involved with Stephen King and his group, and they were all close to George, and I don’t quite remember how, but somehow George got involved in directing 1982’s Creepshow.”
Of his initial response to Romero’s low-budget zombie classic, Holland expanded, “When Night of the Living Dead was made in 1967, there were so few independent films, that it was shocking that someone had been able to do that, and on their own without a studio. Now you look at the film, and the fact that they had no money, and were shooting short ends (a partial roll of unexposed film stock left over during a motion picture production and kept for later use) and all of the rest of it, gave it that documentary look, and someone it made it more believable, starting off with the news segment about the dead awakening, but what Romero did, probably because of money or lack thereof, was that he turned and made it into a dramatic situation that was sharper than Ragona’s film, though depending on how political you want to be, Romero’s film was a “primitive.” In retrospect, it’s not great filmmaking, but in terms of where it was at that time, it was a huge breakthrough, and he was creating almost an entire genre of independent horror films, and the first time I remember that (ever) happening, it was Romero.”
“The other thing is, that I think Tobe “was a much more talented filmmaker,” said Holland, “and I can say this now that they are both dead. I met George at Sitges in 1984 or 1985, when I was there in Spain for the premiere of Fright Night, and he was there with his film Knightriders starring Ed Harris, and George was a terrific guy. He seemed very working class to me, and he was a big drinker. I mean, I couldn’t keep up with him, because we’d gone out to dinner with the people at Sitges, and he put me under the table. But he wasn’t a precious “film” guy. He was more like a guy from Pittsburgh, is what I remember.”
As for whether there was any intended socio-political message to Night of the Living Dead, given Romero’s casting of an African American lead in the climate of 1960’s America, and that hero’s third act murder at the hands of a Caucasion mob (and with the film having premiered no less than six months to the day after the assassination of Martin Luther King Jr., film historians have indeed pointed to Romero’s awareness of cultural zeitgeist, in this film and its subsequent sequels), “They claim in retrospect that Romero had intended that, with the casting of Duane Jones as ‘Ben’, but I think that’s a crock of shit,” offered Holland.
“Jones was the only guy he could find,” Holland expounded. “They were all working out of Pittsburgh, and most of them were from Carnegie Tech, and certainly at that time there, there was no acting or filmmaking community there. I remember all of this because I was at Northwestern at the time, shooting my first film even before that on 16 millimeter, and just trying to get the equipment to make that was impossible, and I’m sure it was no easier for George when was shooting Night of the Living Dead.”
“What’s interesting,” Holland mused, “is that it took forty two years for the film to truly permeate popular culture, as evidenced with the debut of The Walking Dead which became the number one television show, because when the film first came out, it was greeted with horror, and I don’t mean in a good way. I mean that the critical reviews were just horrible, and they were also horrible for a film like 1967’s Bonnie and Clyde, starring Warren Beatty and Faye Dunaway, which they pulled from theatrical release because of the violence in it, so you can imagine the critical reaction to Night of the Living Dead. So you can see the shift in this country’s attitude in terms of what is permissible, and in terms of what a soap opera is, which is what The Walking Dead is, except with zombies. Aaron Spelling would have loved the show.”
Holland continued, “But for Night of the Living Dead, the critics were truly horrified but it, because of that scene outside of the house near the truck where they eat the flesh. There’s something very, very explicit about that. The other thing that the film did, was that Romero tricked expectations. I mean, here’s your hero, and he gets killed at the end. And the girl that should be the heroine or the sexy counterpart, goes into a state of shock and she sits there as a dummy for the entire movie staring at nothing. So in other words, George deliberately or inadvertently turned over the ways you would normally see a film work out in a Hollywood pattern, and he also gave us a very bleak ending.”
“However,” said Holland, “if you compare as films, not in terms of its social impact, Night of the Living Dead with Tobe’s The Texas Chain Saw Massacre, the skill of the filmmaking had gone way up, and as filmmakers making them, they were both in similar positions.”
Part 2 coming soon.
Note: this interview is an excerpt from the forthcoming book “Unearthed: A Look Behind the Terror,” currently being written by Sean James Decker and edited by Steve Barton of Dread Central. For more, follow Decker on Twitter @seanjdecker and on Instagram @seanjdecker.
10 Terrifying Moments from Kids’ Movies That Haunted Our Childhoods
When the trailer for Solo: A Star Wars Story dropped a couple weeks ago, I watched it with a tinge of dread. See, Han Solo traumatized me as a child. I was 7-years-old when I saw The Empire Strikes Back in theaters, and the scene where Harrison Ford gets tortured at Cloud City gave me my first bona fide panic attack. It was dark, intense, and completely out of left field in an otherwise fantastic franchise where no one ever bleeds (or screams).
I might be the only one who had such an adverse reaction to Solo’s torture (which happens, primarily, off-screen), but those of us who came of age in the 1980s can probably relate to encountering terrifying moments in otherwise kid-friendly films. For the most part, these were the days before PG-13, meaning there was a ton of leeway for movies that fell in between the extremes of Cinderella and The Shining.
In retrospect, 1980s kids were subjected to a litany of scares that would be considered highly inappropriate by today’s standards—perhaps explaining our generations’ intense love of horror! Return with me now to those terrifying days of yesteryear with 10 terrifying moments from kids’ movies that haunted our childhoods!
The Tunnel of Terror in Willy Wonka and the Chocolate Factory (1971)
The only film on this list that wasn’t produced and released in the 1980s (and the only one I didn’t see in theaters) is nonetheless one every child of the era has seen: Willy Wonka and the Chocolate Factory from 1971. I remember my parents telling me that I was in for a treat when they sat me down in front of the TV at the tender age of 6.
I was already unnerved by the tall man in the trench coat and the bizarre antics of Gene Wilder’s Wonka, but that boat-ride scene completely destroyed my childhood. It wasn’t even the chicken decapitation or the centipedes that rattled me; it was Wonka’s unhinged shrieking! To this day, the scene gives me the willies (pun intended!); Wilder truly channels the dangerous intensity of a lunatic.
Gmork attacks Atreyu in The NeverEnding Story (1984)
The NeverEnding Story was an exciting alternative in the Disney-dominated landscape of kids’ movies in the 1980s—exciting and dark! But a kid trapped in an attic, a horse drowning in a swamp, a nihilistic turtle, and a devastating void all paled in comparison to Atreyu’s confrontation with the insidious Gmork.
Those green eyes staring out from the cave froze my blood. The fact that it could speak made it infinitely more terrifying; this wasn’t some primal beast, this agent of The Great Nothing was a cunning and merciless villain. The matter-of-fact way it informed Atreyu that he would be his last “victim” was beyond bleak. When the monster attacked as thunder roared and lightning struck, I screamed.
Though many aspects of The NeverEnding Story show their age, this moment remains, objectively, as scary as any horror movie werewolf attack.
The Wheelers Descend in Return to Oz (1985)
When Dorothy (played by Judy Garland) first arrived in Oz back in 1939, she was greeted by a community of cheerful Munchkins. When Dorothy (reprised by Fairuza Balk) returned to Oz in 1985, her reception was much colder.
The eerie silence of a seemingly abandoned wasteland was broken by an assault by Wheelers: colorful, mechanically enhanced cousins of the Wicked Witch’s flying monkeys. As adults, we can laugh at the impracticality of villains who can’t even maneuver stairs, but we weren’t laughing as kids, I can promise you that!
While the hall of heads, an unintentionally terrifying Jack Pumpkinhead, and a truly demonic Gnome King are perhaps the scariest moments of Return to Oz, the sudden and unexpected arrival of the Wheelers was a truly devastating moment. It obliterated all our happy memories of Oz in an instant, transforming the land of enchantment into a labyrinth of evil.
Large Marge Tells her Tale in Pee-wee’s Big Adventure (1985)
Many of the films on this list are dark from start to finish, containing multiple terrifying moments. But part of what makes the tale of Large Marge so impactful is that it appears in an otherwise completely lighthearted film. Sure, man-child Pee-wee Herman has always been subversive in ways that only become apparent as we get older, but he never dabbled in ghost stories or jump scares.
Luckily, the scary face of Large Marge was as funny as it was shocking, so even though kids like me hit the ceiling, our fears quickly dissolved into fits of hysterical laughter. Today, I remember practically nothing about Pee-wee’s Big Adventure, but I’ll have fond memories of Large Marge until the day I die.
The Emperor Turns to Ash in The Dark Crystal (1982)
Over 35 years after it’s release, The Dark Crystal remains a unique and beautiful anomaly. Jim Henson’s G-rated Muppets were left in the workshop! This film was populated by fascinating and terrifying characters, conveying a tale that wasn’t dumbed down for its audience. These factors give the film profound resonance and contribute to its status as an enduring classic
Like the title warns, this film is dark. The Skeksis are demonic, Augrah is arresting, and the Garthim are pure nightmare fuel. The process of draining Pod People of the essence and the stabbing death of Kira are horrifying. But it was the death of the Skeksis Emperor that really hit me like a ton of bricks.
There was something metaphysically terrifying about this moment; not only is the idea of a creature crumbling into ash creepy as hell but the effect was gasp-inducing. As a child, it was something I’d never seen before, a concept I’d never imagined, and it floored me. Death had never been conveyed with such shocking profundity.
The Lab Rats are Injected in The Secret of NIMH (1982)
When I sat in the theater in 1982, I don’t think I realized that The Secret of NIMH wasn’t a Disney movie, but I realized soon enough Mickey and Minnie weren’t hangin’ with these rodents! The Great Owl was petrifying and the finale was as harrowing as anything my young psyche had yet experienced, but it was the flashback of experiments conducted on lab rats that stuck with me and haunted my childhood.
It wasn’t just the brilliant animation that powerfully conveyed the rats’ pain as syringes were plunged into their bellies, it was a brutal moment of education they don’t teach kids in school. It was my first introduction to the realities of animal experimentation, and the fact that grown-ups would perpetrate such atrocities felt like a betrayal
The Ending of Time Bandits (1981)
In retrospect, it was irresponsible for any of our parents to think that Time Bandits was a kids’ movie just because the main character was an 11-year-old boy. In 1981, the only other film Terry Gilliam had directed was Monty Python and the Holy Grail. Yes, Time Bandits is funny and exciting with motifs common to kid-friendly time-travel fiction, but the film is nearly hopelessly bleak from start to finish.
Kevin (played by Craig Warnock) is completely neglected by his parents and essentially kidnapped by a troop of interdimensional robbers. He’s made complicit in a series of crimes throughout many dangerous eras, forced to endure wars and even the sinking of the Titanic. Eventually, Kevin is dragged into a realm of ultimate darkness. Though triumphing over Evil personified, he’s abandoned by God before returning home—only to find his home engulfed in a blazing inferno.
Though rescued by firemen, Kevin’s parents didn’t even realize he was missing and are soon reduced to piles of ash by a stray bit of concentrated evil. The friendly firemen take little notice, leaving our young protagonist utterly alone.
Faces Melt in Raiders of the Lost Ark (1981)
A lot of my peers will count the human sacrifice scene from Indiana Jones and the Temple of Doom as one of the most terrifying moments of their childhood. Not me. After what I’d endured in Raiders of the Lost Ark, I was ready for anything.
Since it gets less attention than its predecessor (bonus fact: Temple of Doom is a prequel to Raiders of the Lost Ark), I think people forget just how scary Raiders really is. It’s worlds darker and grittier than Doom, which has a colorful, comic book pallet by comparison, not to mention a clear emphasis on comedy. The spiders, the snakes, the boobytraps: they all put monkey brains and extracted hearts to shame.
But the climax of Raiders of the Lost Ark is more intense than most horror movies, past and present. The face-melting evoked Cold War Era fears of nuclear annihilation and the idea of a vengeful God was devastating.
The Death of Shoe in Who Framed Roger Rabbit? (1988)
I wasn’t always the jaded gorehound I am today; I was young and sensitive once. And even though I was well into puberty by 1988 (or maybe because of it) I was especially traumatized by a moment in Who Framed Roger Rabbit. The hard-boiled plot loaded with barely veiled sexual innuendo was, for the most part, completely buried beneath a cacophony of cameos from just about every cartoon character ever penned.
But it wasn’t the fever-nightmare of Roger’s mania or even the emergence of Judge Doom’s true form that devastated me; it was the execution of poor Shoe, a paradigm of animated innocence unceremoniously dropped into a barrel of “dip” (a toxic concoction made from turpentine, acetone, and benzene).
Most kids in their early teens couldn’t stop thinking about Jessica Rabbit; I was haunted by the death of Shoe.
Supercomputer Makes a Human Cyborg in Superman III (1983)
There’s an evil streak that runs throughout Superman III, the third film to feature Christopher Reeves as the titular Man of Steel. While Superman II had its dark spots (specifically the devastation caused by Zod and his companions) there’s an undercurrent in Richard Lester’s follow-up that’s absolutely wicked—containing a scene that contributed to the destruction of my childhood.
A makeshift batch of Kryptonite turns Superman into an immoral, selfish thug before he participates in a troubling fight to the death with himself. But as unsettling as the concept of an evil Superman may be, the scene where the supercomputer turns Vera into a cyborg was some next level shit for 10-year-old me.
I re-watched the scene in preparation for this article and was shocked at its similarities to the moment in Hellraiser II when Dr. Channard is transformed into a Cenobite—especially the wires! No wonder it scared the hell out of me!
Exclusive: Making Effective Low-Budget Slashers w/ Black Creek Writer-Director James Crow
Today marks the release of writer-director James Crow’s new supernatural slasher flick Black Creek on VOD.
To celebrate the film being out there for your viewing pleasure, we wanted to catch up with the director and talk a bit of shop about just how one puts together a low-budget (effective) slasher film.
So without further ado what follows is our interview with writer-director James Crow (House of Salem). Give it a read and then let us know what you think!
Dread Central: The film’s central villain is very interesting. How much of the mythology/backstory is based on real legends?
James Crow: I’ve always been very fascinated and inspired by mythology and have always been very fascinated with Native American culture. I saw a very powerful film called Soldier Blue when I was younger about the Sand Creek Massacre and it has always haunted me. The skinwalker is based upon the Bayok, a shape-shifting creature that was meant to fly through the forests and Great Lakes. It eats the insides of its victims without waking them!
DC: What were some of the major challenges you faced during the shooting this particular film?
JC: Being out in the wilderness is great… in some respects. You’re not disturbed and don’t have things like traffic and planes overhead. You can be quite secluded and it helps with the atmosphere of film – and in some ways, it focuses the cast and crew. But it can be a challenge when you need quick access to things and problems arise. When you’re on a smaller budget and have a smaller crew than normal, it’s a challenge to be that cut-off. You have to be very resourceful!
DC: In addition to directing Black Creek, you also wrote the screenplay. What inspired you to try your hand at a slasher film?
JC: I think there are elements of the slasher genre there, but it has a supernatural element. I wanted to do something different than my last two films, which were far more supernatural. It wasn’t as heavy as some of the other films, and that was quite liberating. It was fun to enjoy doing something in the vein of a more old-school slasher.
DC: How did you pull off all of the SFX contained within the film?
JC: We shot the scenes as best as we could with gritty lighting and atmosphere. My director of photography Scott Fox is a real talent. Then it was all down to the amazing skills of Jeremy. His work on the edit was brilliant and he really brought a lot to the film. The combination of him and Scott – and, of course, Pete Coleman’s score – is wonderful.
DC: What advice would you give aspiring filmmakers?
JC: Keep being ambitious and aiming for new things. Don’t be afraid to go out and make movies. Don’t be constrained by people who tell you it’s impossible to do certain things.
DC: How did you go about casting this film?
JC: A lot of the cast I knew. Producer Craig spent a lot of time going back and forth with casting ideas. Robert Lowe is a fantastic actor I’ve worked with a lot, and Michael is very young but a big talent to watch for. Pierce Stevens always deliverers, and I loved his take on the sheriff. They make a brilliant double act. Chris O’flyng is a very talented guy and actually comes from Wisconsin. I think he gave the role a lovely vulnerability and played the troubled angst of an alternate teen brilliantly. I cast Leah for her wonderful warmth and beauty on camera, and she really delivers the likable girl next door and heroine. Brianna also is a real force and has some great comedic lines. Rachel Vadeer has something magical about her and Kaylee Williams and Michael Copan are really great pros, all of whom we were lucky to get.
DC: What were some of the films that inspired Black Creek?
JC: Obviously The Thing by John Carpenter, but also It Follows was a bit of an influence.
DC: What’s next?
JC: I have a Christmas horror anthology coming out in November – Nightmare on 34th Street – which feature Pierce Stevens, who plays the sheriff in Black Creek as a killer Santa. It also includes some other cast from Black Creek. We’re also in the final stages of another horror I shot with Scott Fox, A Suburban Fairytale, and we start shooting a Texas Chainsaw Massacre-style comedy called Last Village on the Right next month.
DC: Are there plans for a Black Creek 2?
JC: I guess that depends on how well one does! I like the idea of a prequel though or spinoff. Hopefully, Craig Patrick and I will do something again soon, even more epic.
DC: What’s your favorite scary movie?
JC: I have too many. But my favorite horror is Suspiria. To me, it’s still totally iconic and out of this world. The soundtrack by Goblin is marvelous, but thankfully I’m doing really well with Pete Coleman on all my movies so far! And Black Creek is another treat, and I look forward to what he’s done on Ahockalypse with Craig. I’m sure it will be amazing, much like his score for Nightmare on 34th Street!
Thanks James for stopping by Dread Central and chatting with us about the new film!
Black Creek stars YouTuber Chris O’Flyng as well as Leah Patrick, Michael Copon, Kaylee Williams, Robert Lowe, and Michael Hill. It was directed by James Crow.
The film is now available On Demand HERE.
Returning to their family’s cabin in the dark, Wisconsin woods to scatter the ashes of their father, a troubled young man and his brash sister are terrorized by signs that an ancient, Native-American spirit, awakened by a ritual murder, has marked them for death.
Exclusive: Talking Vietnamese Ghost Stories and Gothic Horror with The Housemaid Writer-Director Derek Nguyen
Writer-director Derek Nguyen’s Vietnamese Gothic romance horror film The Housemaid is hitting select theaters, VOD, and Digital platforms in the U.S. today, February 16.
Dread Central was lucky enough to catch up with Nguyen for some one-on-one time where we talked Gothic horror, Vietnamese ghost stories, and more. It was a great interview, and you can check out the full piece below.
After that make sure to check out the film’s poster to the right and the trailer below, and then let us know how excited you are to see The Housemaid.
Now let’s get to it!
Dread Central: First thing I would like to say is “Wow, what a movie!” I loved The Housemaid and found it to be a gorgeous Gothic horror film. Are you a big fan of the sub-genre?
Derek Nguyen: Thank you for your kind words about The Housemaid! And yes, I love Gothic horror films. But it all started for me when I read Gothic horror novels as a kid. My go-to reading list was Frankenstein, Dracula, Jekyll & Hyde, Picture of Dorian Gray, and anything from Edgar Allan Poe. One of the highlights of my career was when I received an Edgar Allan Poe nomination for a play I wrote called Monster. Dream come true.
DC: What are some of your favorite Gothic horror films?
DN: I am a big Guillermo del Toro fan. I love his dark sense of humor, his ability to create memorable offbeat characters, and the dark storylines he gravitates to. Other than the classics like Bride of Frankenstein, I really liked Let the Right One In, The Orphanage, and The Witch.
DC: The film is set in 1953 during the First Indochinese War in Vietnam. How important was this particular period to you and the film?
DN: The time period was integral to the story of The Housemaid. It’s set in a very pivotal time in Vietnam’s history, where the French [were] just about to be defeated in the battle of Dien Bien Phu. And I wanted to talk about war, Colonialism, and their effects in Vietnam. I was interested in talking about the many years of oppression, particularly by the French rubber plantation landowners. And of course, I wanted to talk about these things while being entertaining!
DC: The film features some horrific acts by French overseers on the Vietnamese workers at the film’s rubber plantation. How much of this is based on real events?
DN: In my research when writing the film, I discovered all these horrific acts by French landowners on Vietnamese workers while on a trip to Vietnam. I had no idea that these things happened and was surprised that they weren’t in the history books. There are museums in Vietnam that tell the shocking tales of the plantation workers in detail. Thousands of Vietnamese men and women toiled at the French rubber plantations under debilitating and inhuman conditions. Dysentery, malaria, malnutrition, and back-breaking labor were rife. Merciless overseers systematically beat and tortured workers—many of them to death. I wanted to tell their stories and didn’t want to shy away from what really happened.
DC: In addition to directing the film, you also penned the screenplay. Can you tell us what your initial inspiration was to tell this particular tale?
DN: The film is inspired by my grandmother, who was once a servant in a grand estate in Vietnam and ended up falling in love with the landowner. As a child, she used to love to tell me ghost stories. One of the things that stuck with me was that she believed that spirits lived in trees. Then I learned about the atrocities that the Vietnamese rubber plantation workers experienced under the French landowners and I thought about how haunted the plantations must be. If you visit the rubber plantations in Vietnam, you’ll notice that the soil is red. Many Vietnamese believe that the soil is red because of all the spilled blood of the Vietnamese workers.
DC: What are some of the films that inspired The Housemaid?
DN: Jane Eyre, The Others, Rebecca, The Shining.
DC: The Housemaid is the third-highest-grossing horror film in Vietnam’s history; did you ever expect the film to resonate to that degree?
DN: Crazy, right? And it’s been sold to 19 different territories around the world. Unbelievable! You never know how people will react to your work. As a filmmaker, you just have to do your best and make sure that you’re being true to yourself. And hopefully, people like it!
DC: Nhung Kate received a Special Jury Prize for her portrayal of Linh at the 2017 LA Film Festival. What was it like crafting such a profound performance on set?
DN: Nhung Kate is a revelation! She’s bold, gutsy, vulnerable, and mysterious. (And she rides a kickass motorcycle!) It took months for us to find the right “Linh” and I think she embodies the character so perfectly that I can’t imagine I could have found a better actress to play the part. While on set, Kate and I worked a lot on the duality of the character: her internal feelings juxtaposing her sense of duty. In a lot of ways, she’s a character who struggles between her need for love and the burdens of responsibility.
DC: Oscar-winning screenwriter Geoffrey S. Fletcher (Precious) is currently penning the script for the American remake of The Housemaid. How do you feel about your film being remade?
DN: I feel great about the American remake because it was my idea! When I was doing research for the original script, I realized that there are so many parallels between Vietnamese plantation workers in Vietnam’s colonial period and African-American slaves in the American South. I pitched the idea to my producer Timothy Linh Bui, and he took it to CJ Entertainment, who financed the original film, and they greenlit the remake. My only condition was that I insisted that the screenwriter and director of the American version be African-American. I feel that there needs to be an authenticity to the experiences and that the new characters would be best served by filmmakers of the same cultural background. I will be executive producing the remake and will be working creatively with the American team.
DC: Awesome! Now, I always like to end with this question: What’s your favorite scary movie?
DN: Psycho. I was one of those strange ten-year-old kids who watched that film over and over and over again. Does that say something about me?
Thank you so much to The Housemaid writer-director Derek Nguyen for stopping by Dread Central and talking with us about the film.
The Housemaid hits select theaters, VOD, and via digital platforms in the U.S. on February 16, 2108.
A forbidden passion awakens vengeful spirits within a haunted mansion in this bloodcurdling, erotic tour-de-force. Vietnam, 1953: Linh (Nhung Kate), a poor, orphaned young woman, finds employment as a housemaid in a crumbling rubber plantation presided over by the emotionally fragile French officer Sebastien Laurent (Jean-Michel Richaud). Soon, a torrid love affair develops between the two – a taboo romance that rouses the ghost of Laurent’s dead wife, who won’t rest until blood flows. Submerged in moody Gothic atmosphere, this stylish supernatural saga confronts the dark shadows of Vietnam’s colonial past while delivering heart-stopping scares.
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