In the Name of the King 2: Two Worlds (2011) - Dread Central
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In the Name of the King 2: Two Worlds (2011)



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In the Name of the King 2: Two WorldsStarring Dolph Lundgren, Natassia Malthe, Lochlyn Monroe, Heather Doerksen

Directed by Uwe Boll

I fully admit to having enjoyed In the Name of the King: A Dungeon Siege Tale. Just about every criticism you can throw at it is perfectly valid; I was still entertained. What can I say? A true guilty pleasure.

When I heard the news that Uwe Boll was making a sequel with Dolph Lundgren pulling an Army of Darkness as a modern soldier magically transported to this fantasy realm in order save it from the forces of evil, I was psyched for another guilty pleasure. Alas, In the Name of the King 2: Two Worlds is most definitely guilty, but a pleasure it is not.

Dolph Lundgren is Granger, a deeply depressed ex-Special Forces soldier now teaching karate in Vancouver. He gets transported to a fantasy realm when warriors from that time ambush him in his apartment. He’s told his coming was foretold in a prophecy claiming that a chosen one from “the time beyond” would save the kingdom from an evil army of guys in black tunics known as the “Dark Ones” who have overrun the land.

Do you remember that really dull scene from the first film when a dying Burt Reynolds gave Jason Statham that longwinded talk about the importance of being king? Imagine that scene repeated over and over for 90 minutes with very little action in-between.

Granger meets up with various characters, repeatedly, so they can tell him how important he is, what the prophecy is all about, who the bad guys are, what they’ve seen in their visions, how the kingdom ended up in the turmoil it’s now in, whom he needs to defeat, why they want to help or hinder his mission, basically explaining to him in dialogue every single facet of the plot. These people didn’t need a soldier from the future – they needed a stenographer.

Lundgren even chimes in with voiceover narration that does nothing but further suffocate the viewers with more blather. Even when there is action, there’s barely anything to it — just a few quick bursts of uninspired fighting before the climactic appearance of a fire-breathing dragon and the storming of what may have been the least fortified stronghold in the history of fantasy cinema.

The original movie may have been loosely based on the computer game Dungeon Siege, but for this sequel Boll should have just put all the copious amounts of dialogue up on the screen so Lundgren could respond to the text with a basic command and then released the film as a motion picture adaptation of the old text-based fantasy game Zork.

Several paragraphs explaining the prophecy…

Do you want to fulfill your destiny and save the kingdom?

Lundgren selects “yes” and we move on to the next scene where he has to decide what supplies to take with him on his mission.

Will you trade your survival knife for a better weapon?

Lundgren selects “no” and returns to his quarters to rest up before the journey begins the next day.

The sexy chambermaid straddles you on the bed as she tells you of her desire to be deflowered by the chosen one. Do you have sex with her, or do you tell her you’re too tired and just want to get some sleep?

Lundgren selects “yes” and we fade post-coitus to her refastening the corset we never actually saw her take off while he lays fully clothed in the bed.

It deserves mentioning what a lousy soldier Granger is. He appears so tactically inept it’s hard to believe he was the only member of his platoon that survived whatever it was that happened. He’s nearly killed in action several times. In one instance he would have died had his attacker not stopped himself, and he even casually strolls right into the den of an almighty villain with so little concern he fails to notice someone standing right off to the side of the entrance waiting to bonk him upside his skull.

Credit where it’s due: Only Uwe Boll could make a time-traveling sword & sorcery film that ends in a cramped apartment with two warriors slugging it out with a flashlight and a frying pan.

There was a moment early on when it started to look like the movie was going to take more of an Army of Darkness approach. Granger suddenly shows signs of a sardonic personality and goes from being remarkably calm and unimpressed by his supernatural situation to treating everything with a degree of a glibness that added some much needed mirth before reverting back to being as leaden a fantasy flick as you’ll ever seen. (The whole production has the look of a slightly glossier made-for-Syfy fantasy flick.)

Lundgren’s character is written to be almost schizo in how his personality switches from serious and downbeat to awkwardly sarcastic, sometimes in the same scene. Natassia Malthe has never been worse than she is here. Lochlyn Monroe tries to ham it up but doesn’t hold a candle to what Matthew Lillard did in the previous film. None of them are as fun to watch as their predecessors. Too bad because the movie is about 75% dialogue, and barely a single line of that dialogue ever sounds natural coming out of their mouths.

This name-only follow-up may be a half-hour shorter than the theatrical cut of its forerunner; yet, it feels much, much longer. In the Name of the King 2: Two Worlds will make you reassess anything negative you ever said about In the Name of the King: A Dungeon Siege Tale. Heck, it’ll have you reassessing anything negative you ever said about Beastmaster 2: Through the Portal of Time.

The DVD includes two separate commentary tracks by Uwe Boll and screenwriter Michael Nachoff.

Do you want to sit through this movie two more times just so you can review the DVD extras?

Foy selects “no” and ejects the DVD. The end.

1 1/2 out of 5

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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 (3 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 3.86 (7 votes)
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The Dollmaker Short Film Review – Welcome to Heebie Jeebie City!



Starring Perri Lauren, Sean Meehan, Dan Berkey

Directed by Alan Lougher

The loss of a young child drives a mother to take a set of unusual measures to preserve his memory, and all it takes is one call to The Dollmaker.

When the short film by Alan Lougher opens up, we see a rather disturbing image of a little boy inside a casket, and the sound of a grieving mom speaking with an unidentified man in the background – he’s requesting something personal of the child to help “finish” his product, and it’s not before long that mom has her little boy back…well, kind of. What remains of the child is the representation of his former self, although it’s contained within the frame of a not-so-attractive doll, and the boy’s father isn’t a believer in this type of hocus-pocus (or the price to have this constructed, either). The doll comes with a specific set of instructions, but most importantly, you cannot spend more than one hour a day with the doll, or else you’ll go mad thinking that the soul inside of it is actually the person that you lost – sounds reasonable, doesn’t it?

Well this is just too good to be true for Mommy, and as the short film progresses, we’ll just have to wait and see what happens to her mind – it’s ultimately a depressing scenario, but Lougher gives it that creepy feel, almost like visiting a relative’s home and seeing their dearly departed pet stuffed and staring at you over the fireplace – HEEBIE-JEEBIE CITY, if you ask me. All in all, the quickie is gloomy, but ultimately chilling in nature, and is most definitely worth a watch, and if I might use a quote from one of my favorite films to apply to this subject matter: “Sometimes…dead is better.”

  • Film


Ultimately chilling in nature!

User Rating 3.5 (14 votes)
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