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It Came from the Video Aisle! Inside Charles Band’s Full Moon Entertainment Studio (Book)

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It Came From the Video AisleWritten by Dave Jay, William S. Wilson, and Torsten Dewi


The story of Charles Band and his Full Moon Entertainment studio is a lot like “The Little Engine That Could”, assuming the engine frequently derailed and due to crippling budgetary restraints the train would sometimes be replaced with a pedal car.

Like Roger Corman with perhaps an even greater degree of hucksterism, Charles Band has kept going in the entertainment industry, onward and upwards, sideways and downward, for longer than most of us have been alive. Rebuilding, rebranding, reinventing himself — from the video store to the rental box to streaming on demand, Band has often been at the forefront of the ever evolving low budget film industry even when it was more out of necessity than visionary.

Band followed up the financial collapse of his theatrical production company Empire Pictures in 1988 by creating a two-word production company that has become synonymous with the golden age of the video rental store: Full Moon.

Anyone of age to remember these magical places called video stores no doubt recall the fantastical works of box art for Full Moon films sucking them in like moths to a flame to take a chance on horror/sci-fi/fantasy films with equally fantastical titles and premises. For better and worse, these cheaply made, hastily assembled, “Blockbuster Night” movies helped turn Full Moon into a brand name that stood out above and beyond the usual slop tossed into the video store hog farms for the masses to consume when they needed a break from the big budget Hollywood blockbusters.

Band’s innovative idea to include “Videozone” segments following Full Moon’s movies – a forerunner to the modern DVD extra – offered viewers a glimpse behind the curtain, a taste of things to come, and solidified Band’s brand as one of the most fan friendly out there. The go-for-broke mentality making b-movies with these premises both wacky, tacky, and even retro before retro was cool was his attempt to do for cinema what the likes of his idol Jack Kirby had done for comic books. Unfortunately, sometimes Band went broke (literally!) and a number of these b-movies were more fun in spirit than execution.

It Came from the Video Aisle! – Inside Charles Band’s Full Moon Entertainment Studio walks a fine line between being a historical document, a love letter to these films and the people making them, and an honest critique of the good, the bad, and the ugly of a little company that produced small films often about tiny terrors.

Co-written by Dave Jay, William S. Wilson, and Torsten Dewi; It Came from the Video Aisle! is a massive 480 page tome containing probably everything you ever wanted to know about the wild, rocky history of Full Moon. I took one look at the thickness of this book and wasn’t sure I ever wanted to know this much. While Band may be the king of the B’s and a proponent of the popular three B’s of b-cinema (blood, boobs, beast), I can best surmise this Full Moon field guide using three E’s: entertaining, extensive, and exhausting.

Why exhausting? Simply put, I found a good deal of what I read to be a tad depressing. A lot of the folks quoted clearly worked their asses off to try and make something they could be proud of when deep down even they clearly knew between the time, budgetary, and creative restraints their work was in the service of something with no chance in hell of being what they wanted it to be. If only we had the money… If only we had more time… If only we had more creative freedom. If only Charles Band didn’t keep butchering the scripts during production… If only: such a common theme it practically becomes as much a mantra as Band’s own overly ambitious “200 movies by the year 2000” plan.

Many a writer, director, special effects artist, cast, and crew member appeared to be more than well aware of the frequently compromised nature of their work; hence film credits littered with an endless array of pseudonyms by a slew of Band regulars. Scam artists and escaped convicts use fewer aliases than the people responsible for Full Moon’s output. “Benjamin Carr” still insisted that alias be used instead of their real name in a book celebrating his career.

It Came from the Video Aisle! is a hell ride through the constantly changing landscape of the low budget movie industry and how a one-man Band and his Full Moon brand continues to survive in it by hook or by crook. This is very much a Hollywood survival story, and not just Band’s.

What I read in many ways echoed my own sentiments regarding Full Moon. I have an unabashed love for many of these films, warts and all, and some I simply have a deep rooted nostalgia for because of the formative role they played in my movie-watching youth. When it comes to a good number of these films, the brutal honest truth is if they were books you could say they weren’t worth the paper they’re printed on.

Following a foreword by Full Moon workhorse C. Courtney Joyner, whose name, alongside Benjamin Carr, are the only ones to appear almost as much as Band himself (except maybe David DeCoteau, who, strangely, declined to contribute in any way to the book), the text is divided into eight chapters presented is a somewhat muddled fashion. More on that momentarily.

Chapter One: The Paramount Years – Can you call it a “chapter” if it runs approximately 109 pages? There are full-length books that aren’t even that long.

If you’re a fan of Full Moon today, it’s almost certainly because of the movies pumped out during the five-year run with Paramount. I would dare say this is the most cheerful chapter of the book, at least until you get to the aggravatingly vague portion when Paramount pulls the plug due to what can only politely described as questionable decision-making on Band’s part. Hard not to get the sense there might be more to the story that for whatever reason, probably legal, gets sugarcoated by the authors. For certain hard not to read this chapter and be left wondering what greater heights Full Moon might have reached had that deal not turned sour so quickly. If only…

One of the biggest surprises of this chapter is the near twenty pages devoted to Band’s kiddie movie off-shoot Moonbeam Entertainment. I had no idea that these family flicks that littered video store shelves during this time period had proven to be so lucrative they often outsold the actual Full Moon titles and frequently were given considerably larger budgets. Moonbeam was such a financial success that when the big Full Moon/Paramount divorce went down Paramount, shall we say, wanted custody of the children.

Chapter Two: The Kushner-Locke Era – When one door slams shut Charlie Band finds a way to stick his foot in another. The other would be the Kushner-Locke Company with whom Band partnered with beginning in 1995 and continued with until about the turn of the millennium when the company financially collapsed. The prevailing theme of this chapter is a determination to try and make even more movies of a wider variety with even less money, time, and creative freedom.

For every success during this period, like the wonderfully loopy Head of the Family, there was an awful lot of movies put out that were just that. The Killer Eye, anyone?

Part of the problem would be overexpansion. Specifically, the various sub-labels Full Moon created to cater to specific genre needs. Amazing Fantasy, Monster Island Entertainment, Action X-Treme, Shriekers, PulsePounders, and Filmmonsters, oh my! The greatest intriguing tale to come out of this failed experiment would be the Skinemax-quality softcore sexcapades of Torchlight Entertainment (later Surrender Cinema) that, surprisingly, even Band was so uncomfortable with he preferred to keep his name off of them as much as possible.

Chapter Three: The Tempe Era – This chapter was guest written by Nathan Shumate, presumably because these were such dark times for Full Moon (no longer even called Full Moon at this stage) that none of the main three authors wanted to revisit any of these film. I can personally testify to having only ever viewed two of the movies mentioned here: William Shatner’s disastrous Groom Lake and the monster movie Demonicus, which I know I saw but have zero recollection of. Nothing I read here did anything to make me want to go seek out any of these titles I overlooked back in the day.

That said, my own unfamiliarity/avoidance with this early 2000s era during which Band went the micro-budget route with distributors Tempe Entertainment, working with the likes of DIY filmmaking kingpins J.R. Bookwalter and David Sterling, made for an interesting read. Of particular interest, tales of the production fiasco that was William Shatner’s bungled directorial effort Groom Lake and how it led the iconic actor to become the host of Band’s short-lived series “Full Moon Fright Nights”.

Chapter Four: The Shadow/Full Moon Features Era – As I like to call this, my PTSD years. These were the movies that came along right as I was just beginning to write reviews online, many of which were scathing, many of which I had completely forgotten about until I re-read about them here and all the bad memories returned.

Oh, Decadent Evil 1 & 2, why – just why?

On the other hand, there’s The Gingerdead Man, a movie I wrote a rave review of that I still get grief for even to this day; as if a film about a killer cookie voiced by Gary Busey could ever be deserving of anything less than four stars.

This chapter begins in the mid-2000s with Band’s attempt to rebrand once more as Shadow Entertainment before fully relaunching Full Moon and striking a distribution deal with this company you may have heard of called Redbox.

Chapter Five: The Pick-Ups – Until l read this short chapter I didn’t even know Band had created yet another sub-label in 1999 called Edge Entertainment with the intent to distribute more respectable, predominantly non-genre films. Robert Altman’s Gun and Matthew Bright’s Freeway follow-up Confessions of a Trick Baby found their way onto store shelves via Edge. As did John Landis’ forgotten comedy Susan’s Plan; a fact that did not sit well with him. Charlie Band is a criminal! decried Landis. And that’s coming from a guy who actually had actors die on his film set.

Chapter Six: Full Moon Streaming – The shortest chapter (9 pages) discussing Band’s move to create his own online streaming service. Makes sense this would be the shortest as this is his most recent venture, the history of which is still being written.

Chapter Seven: The Vault – Another short chapter (10 pages) focusing mainly on late stop-motion master David Allen’s long-gestating passion project The Primevals. An epic fantasy adventure in the tradition of Ray Harryhausen; what would have been Allen’s magnum opus began life in 1968, experienced numerous starts and stops for decades, nearly got finished by Full Moon in 1994, and even to this day Band swears he’ll see it to fruition eventually. If only…

Chapter Eight: The Franchises – Pretty much everything you ever wanted to know about the history and making of what are considered the seminal Full Moon franchises: Puppetmaster, Trancers, Subspecies, The Gingerdead Man, Evil Bong, Killjoy, and the “Moonbeam” adventure series Josh Kirby.

If there’s one major complaint to be made towards the book, it would be the oft clunky nature of how all this information is laid out there. Putting “The Franchises” at the end seemed an odd choice since they could have easily started the book with a whole chapter on Puppetmaster alone seeing as how that film launched the company and the series is Full Moon’s most well-known property. The ginormous opening Paramount chapter could have easily been divided with mini-chapters devoted to Trancers and Subspecies, with others delved into greater detail where it fit.

The narrative flow of chapters periodically come to a screeching halt for lengthy interviews with the likes of poster artist Lee MacLeod, Fred Olen Ray, Benjamin Carr, Danny Draven, J.R. Bookwalter, writer Shane Bitterling, special effect mavens Mike Deak and Mark Rappaport, just to name a few. Sometimes they fit the story being told; other times it felt intrusive. There are already so many quotes and anecdotes I kind of wish many of the longer interviews had been held off for their own chapter towards the end instead.

The mere existence of “The Vault” chapter alone struck me as odd. An entire chapter devoted to unfinished films yet only really discusses two such films at length while the entire book is already loaded with little asides about unmade Full Moon productions?

For the record, based on what I read here about the unproduced Doctor Mordred 2, we should all be heartbroken that we lost out on what could very well have gone on to be regarded as one of the very best films Full Moon would ever produce.

Another layout quibble was how certain personalities got introduced in one chapter and then re-introduced again in a later chapter, sometimes with even more biographical info and how they fit into the Full Moon family the second time around. I swore Jacqueline Lovell got re-introduced two or three times while someone who was a staple of early Full Moon films like Megan Ward was almost completely glossed over.

You expect lots of images from a book like this. Oh, you’ll get plenty of production art and behind the scenes photos but not as much as you might have hoped for and you may have trouble fully appreciating the details given many are bordering on postage stamp size. Now that I think about it; a book about a movie company known for making movies about mini-monsters filled with tiny images actually sounds strangely appropriate.

All in all, if you’re a fan of Full Moon then this is a must-have book. If you’re just a fan of filmmaking and want an inside view of what it was like deep in the trenches of the direct-to-video market from 1990 to today then this is again a must-read.

One of Band’s cohorts tells him with his experience he could get a job as an executive at any studio in Hollywood. Band doesn’t want that. Band wants to be his own boss. If that means jeopardizing his deal with Redbox because they’ve made it abundantly clear that no matter how much he insists on making Gingerdead Man vs. Evil Bong they absolutely will not distribute such a movie in their machines, then so be it.

As John Carpenter is quoted in the book: “Only two things will still be around after the apocalypse: cockroaches and Charles Band.” He meant that as a compliment.

BUY IT NOW!

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Through the Cracks – Trick or Treat (1986) Review

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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
3.5

Summary

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.

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AHS: Cult Review – Clowns, Cults, Politics, and Peters

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

Created by Ryan Murphy and Brad Falchuk


** NO SPOILERS **

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)
3.5

Summary

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.

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The Axiom Review – A Stylish and Clever Slice of Independent Horror

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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.

ADDITIONAL THOUGHTS:

  • 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
4.0

Summary

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.

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