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Exclusive: Doug Hutchison Talks Vampire Killers

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To read “From the mind of Doug Hutchison”, for genre fans anyway, is an invitation to be freaked out. The actor, who has given horror fans such memorable characters as Eugene Victor Tooms in two episodes of “The X Files” – “Squeeze” and “Tooms” (both in Season One of the show), Percy Wetmore, one of Stephen King’s more horrific villains, in Frank Darabont’s The Green Mile and most recently, Henry Victor, the racist and borderline sociopathic Army officer in JT Petty’s, The Burrowers, is also a writer AND serious horror fan himself.

Beginning in October 2008, under the banner of his own production company, Dark Water, Hutchison launched a web series entitled, “Vampire Killers”. Set in modern day Los Angeles, the premise is that in a city the size of LA, with a vampire population of over 500,000, there are only 4 vampire killers to deal with the problem. And a problem this is indeed. For Hutchison’s vampires aren’t your daddy’s vampires. Dread Central recently spoke with the amiable, passionate-about-his-art and unable-to-unlock-the-“Caps-lock”-button-on-his-computer actor about his debut horror series and what more fans can look forward to, down the road.

Doug  Hutchison Talks Vampire Killers

Elaine Lamkin: Thank you so much for taking time to speak with Dread Central about your web series, “Vampire Killers”. Now you are known to most people as that creepy guy from “The X-Files”, The Green Mile, A Time to Kill, “Lost” (although it’s more of you being “that guy with the creepy hair” on that show) and currently in JT Petty’s amazing The Burrowers. How did “Vampire Killers” come to be? I remember from interviewing you previously that you are very well-versed in the horror genre. Could the genesis of “Vampire Killers” be traced back to some traumatic horror-related event in your youth?

Doug Hutchison: Sorry, Elaine. No big, traumatic, salacious horror-related events to share leading to the genesis of “Vampire Killers”. From collecting “The Tomb of Dracula” comics as a kid, reading Anne Rice’s novels and digging movies like “Nosferatu”, “The Addiction” and “The Hunger”. I’ve always had an affinity for the vampire genre.

EL: When did you discover that you were such a fan of horror? Any specific movie or book that can be blamed?

DH: See previous answer.

EL: Were your parents … concerned … that you were such a fan of horror (I know mine were)?

DH: No. Actually, my parents bought me “Creepy” magazine and monster models for Christmas when I was a kid. Mom took me to see “The Exorcist” when I was 13 years old. Later, they had to endure my obsession with Alice Cooper!

EL: For the uninitiated or simply unaware, would you give a brief synopsis of “Vampire Killers”?

DH: “Vampire Killers” is a gritty, sexy dark web-series about four 20-somethings solicited by a faceless entity to hunt down and destroy a cabal of 13 hot vampire babes in the LA area.

EL: When did you decide that you wanted to enter the horror genre as a writer (and producer/creator)? And why are vampires your monster of choice? They are certainly popular right now: “True Blood”, the Stephenie Meyers’ books.

DH: Vampires are eternal. Pardon the pun, but they are. The current popularity of “True Blood”, “Twilight” and the “Underworld” series are proof of the pudding.

EL: Did you do any research into the vampire mythology? Dracula, Vlad the Impaler, Countess Erzsebet Bathory, Princess Eleonore von Schwarzenberg, etc.? Or have you created vampires with their own idiosyncratic mythos?

Doug  Hutchison Talks Vampire Killers (click for larger image)DH: If you go to the website, you can read about our Queen vampire (Anesia Titov) and learn about her connection to an ancient Russian lineage of vampires called the “Upirs” with a direct bloodline to Vlad the Impaler. Anesia’s the oldest vampire in the clan (approximately 2,000 years old). Otherwise, no. We didn’t feel the need to conjure the likes of Countess Bathory or Princess von Schwarzenberg. Our vampires are contemporary creations who abide by their own “rules”. For example, our vampires wear crucifixes around their necks, can walk into churches unscathed and don’t have aversions to garlic. To kill our vamps, one needs to pierce the heart…with anything. A stake, a knife, a bullet or a pencil. It doesn’t matter. Just pierce the heart. Can our vamps endure sunlight? I don’t know. We haven’t seen them in the daylight … yet.

EL: I read that you actually conceived “Vampire Killers” more than 5 years ago but shelved it do to other projects. What or who convinced you that the time was now right to dust that project off and get it into production?

DH: “Vampire Killers” was originally conceived as a TV series and then my good friend, Marco Mannone, suggested turning it into a web series. I thought it was an enticing idea and the perfect venue for something like “Vampire Killers”.

EL: How did you go about collecting the cast and crew of “Vampire Killers”? Writer Marco Mannone, who also plays “Travis”, was one of your acting students and writer/director/editor Tim Baldini worked on The St. Francisville Experiment. How did you sell this project to the people involved?

DH: Yeah. Marco was a student of mine. We became friends. He’s a terrific actor and a helluva writer. We’ve collaborated on a few scripts. Marco introduced me to Tim who jumped on-board as our director. The three of us are the heartbeat of “Vampire Killers”.

EL: There are currently six webisodes available – when can fans expect more?

DH: As soon as we figure out how to seduce sponsors in order to make $$$ to invest in more eps.

EL: The set-up of “Vampire Killers” reminds me, superficially, of Robert McCammon’s vampires-in-LA novel, They Thirst. Have you read that book?

DH: Haven’t read They Thirst but Boy’s Life is one of my fave McCammon novels.

EL: Your production company, Dark Water, has the philosophy “With artistic vision, our goal is to manifest dreams.” With “Vampire Killers” being the company’s first production, wouldn’t “nightmares” be a more appropriate word?

DH: Cute, Elaine. Very cute …

Doug  Hutchison Talks Vampire Killers (click for larger image)EL: In my research for this interview, I came across some information about “Vampire Killers” and the premise that Charlotte and the other 11 vampires in the first season are, in fact, ALL Queens. And that when the 13th Queen arrives in season two, all hell will break loose. Accurate? And I suppose viewers will eventually be treated to the 13 “ways to die” (sounds like something from one of the Saw films)?

DH: Well, that’s close but not completely accurate. There are 13 vamps in Charlotte’s clan. None of them are Queens except for Charlotte. However, there are 12 Queens world-wide and rumors of a 13th Queen on her way. The 13th Queen will be the final key.

EL: Will there be any backstory on the vampires in future webisodes? Why the coven is all-female, where did they come from, why are they in LA, etc.?

DH: There are no male vampires because…well…yeah…[ahem]… You’ll just hafta wait and find out, I guess. There will always be backstory on the vamps [as there are now on the site]. This particular coven is in LA because I am in LA and LA is where we shoot.

EL: How did you come up with the “look” of “Vampire Killers”? And who is your DP? I am under the impression, from another interview you did, that Tim Baldini is not only your director/writer/editor but your DP as well. Hope you’re paying that guy well.

DH: Tim is my director/co-writer/editor…and I’m paying him a whopping $0! Very few peeps got paid in “VK”. I reeled in a lot of favors and owe my posse big time. The look of “VK” was a combination of my desire to keep it gritty and urbanic [“The Shield”-esque] and Tim’s keen sense of that visual.

EL: “Vampire Killers” is, so far, not listed on the IMDb. Where can fans go to discuss the show and give you feedback? Are there “Vampire Killers” pages on any of the social sites like Facebook or MySpace?

DH: Yes. There’re “Vampire Killer” pages on both Facebook and MySpace. Several of the vamp gurlz have their own individual pages on these sites as well.

EL: Having your own production company must give you an extraordinary amount of freedom with the direction you want to go with “Vampire Killers”. For the blood n’guts fans out there, how extreme will you go with the killings? And who does your SFX makeup?

DH: The killings will be disturbing and realistic. My SFX makeup artist is James MacKinnon. We met ages ago on the set of Fox-TV’s “Space: Above and Beyond” where I played a recurring character [an android by the name of El-Roy El] and James was the key make-up artist. He’s a frickin’ genius and I was blessed to have him lend his impeccable talents to “VK”.

EL: I also understand that you have some other horror projects gestating in your head. Care to drop any hints as to what folks might have in store? “From the mind of Doug Hutchison” DOES have a sinister ring for those of us who have followed your genre career.

DH: Marco and I are working on a horror script called “The Devil’s Eye”. Other than that, yeah, I’m always pumping out horror-related screenplays in one way or another.

EL: You mentioned in a previous interview with me that today’s horror films “don’t have the teeth to scare [me]”. Are there any horror movies, past or present, that DO have the teeth?

DH: “The Shining”, “The Abyss” and “Carnival of Souls” are a few of my faves.

EL: What sort of feedback have you been getting for “Vampire Killers”? And how long do you see the series playing?

DH: Everyone who jacks in to see “VK” seems to dig it. Our audience continues to grow. My hope is to snag funding and continue to make as many eps as we can [possibly one a week] until it comes to an evolutionary end.

EL: Care to cook up some interest for your possible next project, The Devil’s Eye? And would you, like genre fave writer/actor/producer/director Larry Fessenden, ever act in one of your own films?

Exclusive: Doug  Hutchison Talks Vampire KillersDH: Can’t really talk a lot about “The Devil’s Eye” [‘cause we’re still writing it] other than to say it’s a horror story about a group of con-artist ghost hunters who eventually run into the real deal. And yes, I would absolutely act in my own movies. In fact, Tim, Marco and I are currently developing a comedic script of mine called “Getting Lucky” in which I’ll star as the lead.

EL: The question all writers absolutely hate but, sorry, where do you get your ideas?

DH: Different sources. Sometimes, I’ll dream about a concept, wake up in the middle of the night and write it down. Other times I’m listening to George Noory’s “Coast to Coast”-AM radio and become inspired. Other times, it’s totally life-induced. I imagine everyone [if we were all writers] could conceive a gajillion scripts based on true events in our respective adventures.

EL: Are there any horror novels you would love to adapt for Dark Water? I know there are plenty of great books just waiting for someone to option them and give them the proper cinematic treatment (A Prayer for the Dying REALLY needs to be made).

DH: Are you referring to the Jake Higgins’ novel, “A Prayer for the Dying”? (NB. No, I was referring to the novel by Stewart O’Nan) If so, Mike Hodges made it into a movie back in ’87 starring Mickey Roarke and Bob Hoskins. I, for one, would love to make Peter Straub’s “Shadowland” into a film. I’m surprised no one has attempted it yet.

EL: One question about The Burrowers – was The Horse from Hell you had to ride named “Patches” or “Button”? Inquiring minds …

DH: That’s right! I thought that f-ing horse’s name was “Patches”, but you’re absolutely correct: it was “Button”. Just thinking about that damn devil-horse gives me the shivers…

EL: I read that you kept a journal while filming The Green Mile, hoping to publish it. What happened to that? I know I would love to read about what-all went on while shooting that film.

DH: You can read my journal, “Walking the Green Mile”, in its entirety, on my website: DougHutchison.com.

EL: Anything you would like to add that I haven’t covered?

DH: Yes. You can watch “Vampire Killers” on “VampireKillersTV”. Bite in!

Well, you heard the man! Get to watching! Big thanks to Doug for taking time out of his schedule to talk with us.

Elaine Lamkin

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Unearthed Exclusive Part 2 of 2: Twenty Four Years after its Release, Screenwriter David J. Schow Talks THE CROW

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For many readers of Fangoria in the 1990’s, the magazine’s provocative and insightful column “Raving & Drooling” (appearing from 1992 to 1996) written by American author David J. Schow was cause in and of it itself to pick up an issue (and for those who missed it, those forty-one installments were collected into the award-winning 2000 book release Wild Hairs). For devotees of the literary subgenre of “splatterpunk” (a term Schow himself coined in the 1980’s, populated by the likes of fellow writers John Skipp, Clive Barker, Poppy Z. Bright and the late Jack Ketchum) Schow’s also well revered, from his 1988 novel The Kill Rift to his latest, 2012’s Upgunned. And for fans of horror cinema, his name will undoubtedly spark recognition as the subversive screenwriter of 1990’s Leatherface: The Texas Chainsaw Massacre III and director Dave Parker’s 2009 film The Hills Run Red, among others.

Late last year I sat down with Schow to discuss the film he’s most known for however, New Line Cinema’s cult classic The Crow, a feature which much like the oversized French poster of the same mounted upon the writer’s Hollywood Hills’ living room wall, will forever loom large in his life.

For Part 1 of this article, click here.

Based on James O’Barr’s 1989 comic of the same name, which tells the story of slain musician Eric Draven who returns from the grave (accompanied by a crow as his guide) to avenge the rape and murder of his fiancée on the eve of their impending nuptials, the stylized dark fantasy film opened on May 11, 1994 and was a sleeper hit at the box office, garnering critical praise, grossing more than twice its budget and arguably providing the then burgeoning goth movement a celluloid alter at which to collectively worship. A series of flagging sequels soon followed, as did an ill-conceived television series, and in October of next year an impending reboot titled The Crow Reborn, starring Jason Momoa, of which fans vocal of the original seem at present less than interested. Perhaps unsurprising really, for the tragic death of lead Brandon Lee on March 31st, 1993, son of martial arts and screen legend Bruce Lee, during the indigenous production has rendered the film a veritable cinematic headstone.

Of that tragedy, which involved Brandon being struck by a bullet fired from an improperly loaded prop gun on the Wilmington, North Carolina set, Schow rued, “For anyone that still wants to know about it, that shit is abundantly available on the internet. I don’t know why people to this day are so confused about it. It’s very sad in a different way, too – if The Crow is mentioned, or if you mention to anyone that you were involved with The Crow in particular, there’s always that person in the room that comes up to you sideways, and they always look at you and say the same thing, which is: ‘So what really happened on that?’ Like you can’t read two dozen accounts of what happened. And I have to repeatedly remind people that I’m not trying to minimize the tragedy of the film; all I’m trying to say is that had the tragedy not happened, there would still be a number of good points about the film, that I think would make it just as lasting, maybe ninety-five percent so, without the tragedy attached to it. With the tragedy added, what you now get with this film is the status of what is called a ‘Modern Classic,’ which you may not want, or you may not have invited, but now you’ve got it … and you’ve got to deal with it.”

Schow paused, and referring to that stigma, which can also be applied to Lee’s loss at the tender age of nine of his own famous father Bruce, who perished from a cerebral edema on July 20th, 1973 (and whose death has long been a topic for conspiracy theorists), “And that was one thing that Brandon knew well.”

Of Schow’s personal relationship with the actor, which began prior to principal photography of The Crow during the development phase, “We had spent a lot of time together when we trying to figure out what the movie was about before anyone even went near Wilmington,” recalled the screenwriter.

“We shot a lot of pool. I remember showing him two things – things he had never seen, one in our production office and one in the trailer, and those were Ren & Stimpy cartoons and Nine Inch Nails (music) videos. When did that banned ‘Happiness in Slavery’ video come out? I think that was one of the NIN videos we showed in the production office, and everyone thought something was deeply wrong with (both of) us,” Schow smiled mischievously.

“He and I were driving together one night in one of the production rental cars (in North Carolina),” continued Schow, his demeanor growing wistful. ”We had all of these Hondas, and it was just pissing down rain, the kind that comes directly at your windshield, and the wipers were going and our headlights were our own worst enemy, that kind of thing. And Brandon and I were zipping down the road, coming from playing pool – there was this bowling alley attached to the pool hall (that we frequented) called Break Time that stayed open late for us during production, and so we were blazing home (from it) in this rental car, and Brandon looks at me and says, ‘You want to see something really cool?’ And he pulls the emergency brake and spins the car like three times. And I looked at him and said, ‘Do that again.’ And he did, and he was good at it, too!”

“So yeah, Brandon risked our lives and limbs on a regular basis,” Schow offered, “but he took his role and the film very seriously, physically and otherwise. I remember once that he asked me if I wanted to go to the gym with him when I had the flu. I didn’t (go). I definitely would have croaked under the bench press. And besides, who wants to go to the gym with Brandon Lee? I mean come on, that would have been embarrassing! But yeah, he could be very silly, and he was a good guy. We became friends as a result of this movie, and we were in each other’s orbits so much that it was difficult to be anything other than buddies.”

Schow paused, recollecting.

”Of the very rare down-time periods during production, where we would sort of disrupt the lives of people that were kind enough to keep their businesses open for us – like Break Time – so that we could recreate in the middle of the night when we weren’t working, Brandon got really intent on walking up to total strangers and asking, ‘If you had an opportunity to come back from the dead, would you? Would you potentially upset your loved ones by having one more chance to talk to them, or would you leave them in whatever peace they’d found through grief?’”

“It was like he was taking a poll,” mused Schow. “And almost uniformly, everyone said, ‘I would come back.’ Which I thought was kind of interesting. But yeah, Brandon did his own death poll, with anybody and everybody that we went with, or anyone that would walk past the pool table to absorb what was going on, and after a while, people left us alone.”

Lee’s death took place eight days before principal photography was slated to wrap on The Crow, and seventeen days prior to his planned marriage in Ensenada, Mexico, to his fiancée Eliza Hutton.

“I was certainly there when the accident happened,” said Schow of the tragedy, which took place during the filming of the scene in which Brandon’s Draven enters his apartment, bag of groceries in hand, and is shot by actor Michael Massee’s character of Funboy. “I was standing ten feet away. And then after (his death), it was a very confusing period of time that was in many ways similar to the evacuation of Saigon, as news people tried to trespass onto the lot, and as people tried to figure out what to do.”

Amidst the media’s bombardment and nearly instantaneous conspiratorial speculation (one theory was that Brandon had been murdered by the Asian crime syndicate The Triads, as had his father, another that it had been at the hands of the Chinese mafia) and the production’s own profoundly personal and real loss,“ (The Crow producer Edward R.) Pressman flew in and he wanted to address the entire crew, and production was shut down, basically,” Schow recalled. “But it took nearly three days after the accident to completely shut down. And I remember flying back from Wilmington with production designer Alex McDowell and camera operator Ken Arlidge, and we were sitting on the plane, and this was one of those flights that had a big screen for the movie that they would show everybody, and what comes on the screen but the trailer for (the May, 1993 film) Dragon: The Bruce Lee Story, and the whole plane comes alive around us in total confusion, asking, ‘Isn’t that the guy that just got killed?’ And I was thinking, ‘No,’ but I’m not going to correct anybody on the plane. I’m not going to open that shitbox. We just sank down in our seats, and it was one of the bleakest days of my life.”

“It was very, very depressing,” said Schow, “and it took six weeks or thereabouts for several things to happen, including the decision to complete the movie. A lot of us were sitting in Los Angeles, feeling that the film was unfinished business. Imagine yourself that you are waiting for six weeks for the phone to ring, and it doesn’t for most of that time. We felt doomed and over already, because (director) Alex (Proyas) had said, ‘To hell with this. We can’t finish this.’ And then two of the actors – I’ve heard a story that suggests that one of them was David Patrick Kelly – went to him and changed his mind.”

“Once the idea of completing the movie as Brandon’s legacy came up, that seemed to make a great deal of sense,” Schow continued, “and a great deal of the crew came back for very little or no extra pay, and there was about a quarter of the crew that was new because we had lost some people, but everybody went back to Wilmington for like an entire month. I mean, we had eight days left to shoot, and to collect and repair those eight days, it took over a month.”

On returning to Carolco Studios, Schow recalled, “When we had first started shooting the film, it was freezing there. It was in the grip of early February. But when we went back, it was a horrible summer heat wave in the middle of June, and humid – as far opposite as we could get. But one thing that had not happened, was that people frankly needed to go back to Wilmington just to grieve, because we hadn’t had an opportunity to do that. We certainly hadn’t been able to around anybody who didn’t understand what we were going through, and granted there was Brandon’s mom, and there was Eliza, and there were people going through a lot worse shit than we were. And, this isn’t closure, because closure suggests the end of something. This was different. This was an experience with a large contingent of the crew that had kind of bonded by working together, and had become super bonded by the tragedy in our midst, and it was very nourishing to be around those people as we finished this project and got it out.”

Of the decision to finish the film, Schow said, “It’s always bittersweet to look at anything that refers to the movie, because you are reminded that the process of making this movie killed your friend. But I think if the argument boils down to, ‘Well, we are going to put Brandon and the movie in the ground,’ versus, ‘We can’t save Brandon but maybe we can save the movie,’ I think you could predict most people would say, ‘Let’s take a shot at salvaging the movie,’ and that’s kind of what happened. Ultimately, you can apologize all day, you can try to compensate all day, but what I take away from this experience is this. It is up to the fans I think to decide whether we did rightly or wrongly by finishing this project, and I think the vote has been mainly that we should have finished the movie, and I’ll swim with that.”

Schow concluded, “For anyone who has a friend at this level, or of this caliber, and you get a person like that – and I’m not talking about ‘celebrity,’ I’m just talking about their qualities as a human being – if you have them yanked out of your life, suddenly and unexpectedly in that way, they leave a hole. As time goes by you lose someone else and there is another hole, and then another, and pretty soon you are kind of Swiss cheese. Here’s the difference between the public figures that you are sorry to see go, and the people that meant more to you personally: I think boils down to, ‘Who are the people that since they left, or were taken, died, passed on, shuffled off the coil, which of those will you think about every day for the rest of your life?’ And Brandon is one of those people.”

For more on David J. Schow, follow him on Twitter @DavidJSchow and pick up his latest short story collection, DJStories: The Best of David J. Schow, available now via Subterranean Press.


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.


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Exclusive: GHOST STORIES Clip Just Wants to Have a Nice, Not-Creepy-At-All Chat

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Last Friday, IFC Midnight released their British supernatural horror film Ghost Stories and we want to keep the hype train a’rollin’ by giving you an exclusive clip from the film where Professor Goodman (co-director Andrew Nyman) meets with Simon Rifkind (Alex Lawther) to discuss a strange and terrifying event the young boy experienced. While Rifkind is agitated to the point that we’re not certain if what he says can be trusted or not, his fear cannot be denied and Professor Goodman is clearly unsure what to make of the situation.

Ghost Stories is directed Andy Nyman and Jeremy Dyson, the former who stars alongside Martin Freeman, Paul Whitehouse, Alex Lawther, and Jill Halfpenny.

Professor Goodman, a psychologist, and skeptic, who has his rationality tested when he stumbles across a long-lost file containing details of three terrifying hauntings. He then embarks on a mission to find rational explanations for the ghostly happenings.

Ghost Stories made nearly $13,000 from one theater in New York City over this past weekend. A delightfully surprising and strong performance, this could see the film expand to more theaters in the coming weeks beyond Los Angeles and other major cities this Friday. However, nothing is confirmed and we can only keep our fingers crossed that each new location performs as well and we have another theatrical horror hit this year!

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7 GUARDIANS OF THE TOMB Review – Rest Easy, Indiana Jones, There’s Not Much To See Here

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Starring Kellan Lutz, Bingbing Li, Kelsey Grammar

Directed by Kimble Rendall


If it only weren’t for those friggin’ spiders. Kimble Rendall’s adventurous flick, 7 Guardians Of The Tomb is one of those “wanted to be, yet couldn’t quite hit the mark” action-films that will probably entertain those looking for some cave-dwelling escapades caught on celluloid, but for the more picky aficionado of said slam-bang pics, this one might be viewed as a bit stagnant. Let’s strap on our mining helmets and pick around this one, shall we?

Acting as a bit of a search-and-rescue formation, the movie tails alongside Dr. Jia Lee (Li) as she hunts down the whereabouts of her missing brother after losing contact with him while he was on expedition in Western China. Apparently he was looking for a secretive Emperor’s tomb that supposedly holds a potion that can reanimate, or re-invigorate…or rehabilitate – anyway you slice it, the juice has got some pretty potent powers. So a search team is assembled, led by Mason (Grammar – glad someone got Frasier off of the barstool), and he’s latched onto all-American fella Jack (Lutz) to assist this operation. As it turns out, the initial journey is cut off fairly quick when a violent electrical storm forces the group to head underground, and that’s when things get creepy and crawly…like 8-legged style. The film is ripe with some feverish action and a few decent performances, but it’s the overall framework that acts as the big bully, tauntingly kicking sand in the little guy’s face at the beach.

We’ve got love interests, a flurry of backstories, and oh my lord, those spiders! Yep, even the heartiest of CGI can effectively ruin a good case of the willies when it comes to arachnids and their powers of sucking humans and animals dry of their lifeforce. It’s an intently goofy movie, and even the dialogue seems a bit showy at times, leaving plausibility and intelligence at the entrance to the caves. Lutz is fun to watch as the burly rescuer, and he looks as the type who is just waiting for his cinematic moment to step into the spotlight. What pains me is that this movie really could have been something much bigger, and apparently it looks as if the majority of the film’s budget was wasted on those hokey-looking computerized spiders.

All in all, 7 Guardians Of The Tomb is spotty entertainment, even if you despise those little skittering aphids racing towards you, programmed or not. Give it a peek if Raiders Of The Lost Ark isn’t readily available at your disposal…even that crappy Crystal Skull one.

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2.5

Summary

A film that could have been so much more adventure-wise instead comes off looking like a lesson in how not to waste too much time on computer imagery.

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