Resident Evil: Revelations (Video Game) - Dread Central
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Resident Evil: Revelations (Video Game)



Developed and Produced by Capcom

Available on Everything (Reviewed for PS4)

Rated M for Mature

At this point, I don’t even have jokes to make about the constant Capcom conveyor belt of re-whatevers. In an equally sad and impressive manner, capcom have actually changed the game of putting out the same shit all over again. It all started with the GameCube, when the original Resident Evil got a fresh new remake. Now this is the best example of how to redo a game. New bosses, layout, puzzles, visuals… it was practically a whole new game. This is the upper echelon of the “remake” bracket. Then we have the “remasterings,” like we had with with the exact same Resident Evil remake two years ago. This time on the PS4, Xbox One, and PC, this remastering of the GameCube remake of a Playstation title came with updated costumes, graphics, and jiggle physics. Then we have the plain old re-releases, with maybe a resolution update and chugging on a new engine. Oh hello there, Resident Evil: Revelations. Were your ears burning?

Yes, Revelations is one of those re-releases with little to add on the original. Aside from a new Raid Mode map, this is the same game we saw on the 3DS. Well, minus some of the 3DS gimmicks. This is actually fantastic, as I realized halfway through Resident Evil: Revelations that I had never beaten it. I know I owned it on the 3DS (and I think the PS3?), but either I was incredibly drunk or simply didn’t finish it. I’ve also been meaning to start a series of retro reviews, so what perfect timing to both finish a game I never beat and review it in a modern context. So, does Resident Evil: Revelations hold up?

Resident Evil: Revelations

“Guys it’s not survival horror unless you have someone running down a hallway being chased by monsters.”

I’ll skip forward a bit by saying that Revelations holds up okay. But not for the reasons you might think. There’s a good deal of context with Revelations you have to shuck off before looking at it with fresh eyes. Back before Resident Evil 7 came about and legitimately changed what we expect from a Resident Evil game, Resident Evil: Revelations was heralded as the, “return to survival horror for the Resident Evil franchise.” As I sat on a minigun, firing streams of bullets and rockets into a multi-tendrilled parasite monster the size of a boat, I wondered just what kind of crack the reviewers of yesteryear were smoking. I mean hell, the series hadn’t even been brought to its action zenith with RE6. I guess after RE4 and 5, fans couldn’t fathom what was still in store for them.

Resident Evil: Revelations

It simply would not be a Resident Evil game without a helicopter and a ridiculous giant bossfight.

On the other hand, I too remember the days where RE4 clones ruled the marketplace. Dead Space 2 had come out the year before, Gears of War was still in full swing, and only indie games like Amnesia cared to be hardcore horror. Outlast wouldn’t drop for another year. Hell, even Slender hadn’t come out yet. So it’s understandable that any game that actually limited your ammo and threw some spooks in would be considered a return to old-school survival horror.

When compared to Resident Evil 7, calling Resident Evil: Revelations even creepy is laughable. Even without RE7, the trend of horror games being more horror-ey is now well established. I mean hell, Narcosis managed to be a far scarier nautical horror story than Revelations, and it didn’t even have shambling abominations. So in a modern context, Resident Evil: Revelations is hardly frightening.

Resident Evil: Revelations

Yeah sure, the slug monsters are scary. But they’re not redneck with a shovel scary!

As a shooter, the game is okay. It’s Resident Evil post-4 and pre-7, so you know how it plays. You move with pseudo-tank controls, hold one trigger to aim, the other to fire, and kick when prompted. It’s a remarkably simple formula that hinges on a balance between the control limitations and the combat difficulty. To Revelation’s credit they hit a sweet spot in enemy toughness. It takes a good chunk of bullets to take down even the basic dudes, and there’s a healthy roster of beefier dudes to soak up several buckets of ammo. I’ve played so many games at this point that I rarely die, so I’ll give Revelations some props for leading me to at least half a dozen game over screens. With the limited ammo carrying capacity and five healing item cap I felt that my decisions and combat skills were well rewarded.

Resident Evil: Revelations

Remember, people were saying that THIS was the return to survival horror.

That being said, why the hell has Capcom just gone further and further away from the Resident Evil 4 merchant? It worked perfectly fine. You got gold for killing enemies and doing cool stuff, and exchanged that gold in for guns and goodies. Similar to RE6, Revelations uses this bizarre gun perk system. Rather than good ol’ upgrades, you get parts that can be installed in slots on the various firearms for increased effectiveness. So if you want your assault rifle to hit harder, you throw in a Damage 2 part and hit for 30% more damage. There are only so many slots for each gun, so theoretically you can mix and match to create your favorite specialized arsenal. In practice, you just switch out your highest level parts. You can only carry three guns, and there’s no restriction on swapping out upgrades. So rather than saving up my hard earned credits for that special shotgun capacity upgrade, there’s just another step of menu item management.

Aside from the narrative neutron bomb that was Resident Evil 6, this is also the most plot dense Resident Evil I can remember. Resident Evil plots have always been known for being incredibly dense and absolutely garbage, but mostly have had the decency to stay out of the way. To recap, I have played every single Resident Evil game, and I can tell you 0% of what is actually going on.

Resident Evil: Revelations

At least they never make it hard to figure out who the bad guy is going to wind up being…

Revelations is supposed to bridge that crucial gap between the events of Resident Evil 4 and 5, where we went from saving the president’s daughter from bug-monsters in spain to annihilating slug-monster blobs in Africa. So of course that means killing leach monsters on a boat. Seriously, don’t even try to figure out what is going on in Revelations without several notepads handy. Acronyms like the FBC and the BSAA are thrown at you willy nilly, and don’t expect them to explain to you what each group actually does. The crown jewel of terrible storytelling was when they throw in a surprise sister ship as a mid-game red herring, only to one up themselves with a THIRD sister ship plot twist in the final act.

That’s not even mentioning that it takes them four different character perspectives to explain the whole hot mess. You’ll spend the main game playing as series sweetheart Jill Valentine. Investigating the Queen Zenobia with your fellow BSAA agent Parker Luciani, you’re on the hunt for series muscle-monster Chris Redfield. Turns out that the ship is a trap and Chris is actually with his partner Jessica in a snowy mountain range in Eastern Europe. How the fuck they got the middle of the Mediterranean Sea and a Soviet mountain base mixed up is beyond me.

Resident Evil: Revelations

That feeling when you’re trying to make a serious horror game, but the things just so thicc…

You’ll switch between Chris and Jill as they both tell their side of an ever expanding conspiracy plot. You’ll also switch to Parker for a few flashbacks, just in case you wanted to run around some hallways shooting hunters for a minute. And if that didn’t break the flow enough for you, you also play through a number of chapters as the racially harmonious Keith and Quint. One of them is a computer guy who sounds like a bad Bill Burr impression, and the other has soft rap music playing in the background when he walks on screen. Go ahead and guess their ethnicities.

Resident Evil: Revelations

Never fear, agents DBZ Scouter and Snoop Dogg are on the case!

So the plot is a dumpster fire, the combat is decent, and it’s not scary. Why did I say Resident Evil: Revelations holds up? Despite some of the more questionable elements, there’s just something undeniably charming about it. The plot is so aggressively bad, and so unabashedly in your face about it, that I really want to bring it to an ironic movie night. There are also glimpses of old school brilliance that remind us of what this classic formula is capable of. There are some rewarding puzzles, and enough backtracking to scratch that key-collecting itch. Taking into account this was originally a 3DS game, you have to respect how much they packed into so little space.

I haven’t even talked about the scanning mechanic, but I don’t think I really have to. It’s a vestigial relic of the game’s origins in another era. From the episodic structure to the bearded super-villain quoting Dante while blowing up cities with a space laser, there is so much that just doesn’t make sense. Still, it’s overall a good deal of fun. If you go into it wanting some classic Resident Evil action with even more classic Resident Evil cheese, Resident Evil: Revelations delivers. It’s clearly not the best in the series, but worth experiencing if you’re already a fan.

  • Game
User Rating 0 (0 votes)
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Through the Cracks – Trick or Treat (1986) Review



Starring Marc Price, Tony Fields, Lisa Orgolini, Glen Morgan, Gene Simmons, and Ozzy Osbourne

Directed by Charles Martin Smith

I have been a horror fan for more than half of my life at this point. Meaning I have seen most of the quality horror offerings under the sun. But that said, every once in awhile a classic sneaks past so we wanted to create this “Through the Cracks” review section for such films.

Case in point, I had never seen the Halloween horror flick Trick or Treat until last night. I know, right? How the hell did that happen? But these things do happen and so for everyone that has seen the flick a million times, this will be a review of the movie from a super horror fan that – at the age of 33 – is seeing Trick or Treat for the very first time.

Now let’s get to it.

First off you have to love the movie’s plot. Mixing horror and heavy metal seems like a given, yet preciously few films Frankenstein these two great tastes together.

Like many of you out there, I am a big metal fan as well as a big horror fan. The two seem to go together like chocolate and peanut butter. Or Jason and horny campers.

I dig bands like Black Sabbath, Judas Priest, and even those hair metal bands (Dokken forever!) and I’m well aware of the legends surrounding playing these records backward.

Off the top of my head, the only other flick that combines the two to this degree is the (relatively) recent horror-comedy Deathgasm. I say more horror-metal flicks! Or should we call it Metal-Horror? Yeah, that’s a much more metal title.

It only makes sense that someone, somewhere would take the idea of “What if Ozzy Osbourne really was evil and came back from the dead (you know, if he had passed away during his heyday) to torment a loner fan?” Great premise for a movie!

And Trick or Treat delivers on the promise of this premise in spades. Sammi Curr is an epic hybrid of the best of the best metal frontmen and his resurrection via speaker is one of the great horror birthing scenes I have seen in all my years.

Add to that the film feels like a lost entry in the Nightmare on Elm Street franchise. More specifically the film feels like it would fit snugly in between two of my favorite entries in that series, Dream Warriors and The Dream Master.

This movie is 80’s as all f*ck and I loved every minute of it.

And speaking of how this film brought other minor classics to the forefront of my brain, let’s talk about the film’s central villain, Sammi Curr. This guy looks like he could share an epic horror band with the likes of Mary Lou from Hello Mary Lou: Prom Night II and the Drill Killer rocker from Slumber Party Massacre Part II.

Picture that band for a moment and tell me they aren’t currently playing the most epic set in Hell as we speak. I say let’s see an Avengers-style series of films based on these minor horror icons sharing the stage and touring the country’s high school proms!

In the end Trick or Treat has more than it’s fair share of issues. Sammi Curr doesn’t enter the film until much too late and is dispatched way too easily. Water? Really? That’s it?

That said, the film is still a blast as director Charles Martin Smith keeps the movie rocking like an 80’s music video with highlights being Sammi’s rock show massacre at the prom and his final assault on our hero teens in the family bathroom.

Rockstar lighting for days.

Even though the film has issues (zero blood, a rushed ending) none of that mattered much to this horror hound as the film was filled to the brim with striking horror/metal imagery and a killer soundtrack via Fastway and composer Christopher Young.

Plus you’ve got to love the cameos by Gene Simmons (boy, his character just dropped right out of the movie, huh?) and Ozzy Osbourne as a mad-as-hell Preacher that isn’t going to take any more of this devil music. P.S. Watch for the post-credits tag.

More than a few of my closest horror buddies have this film placed high on their annual Halloween must-watch lists. And after (finally) viewing the film for myself, I think I just may have to add the film to mine as well. Preferably on VHS.

Trick or Treat is an 80’s horror classic. If you dig films like Popcornand if you put the film off like I did, remedy that tonight and slap a copy in the old VHS/DVD player.

Just don’t play it backward… God knows what could happen.

All said and done, I enjoyed the hell out of my first viewing of Trick or Treat. But what do YOU think of the film? Make sure to hit us up and let us know below or on social media!

Now bring on Trick or Treat 2: The Prom Band from Hell, featuring Sammi Curr, Mary Lou Maloney, and Atanas Ilitch’s Driller Killer from Slumber Party Massacre Part II!

  • Trick or Treat (1986) 3.5


Charles Martin Smith’s Trick or Treat is a sure-fire Halloween treat for fans of 80’s horror flicks, as well as fans of heavy metal music.

User Rating 3.25 (12 votes)
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AHS: Cult Review – Clowns, Cults, Politics, and Peters



Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)


The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

User Rating 4.11 (18 votes)
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The Axiom Review – A Stylish and Clever Slice of Independent Horror




Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods

The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.


  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom


In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

User Rating 4 (17 votes)
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