The Friday Night Horror Movie: Vampire Hunter D: Bloodlust (2000)

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Talk about a case of a sequel being better than the original. I watched Vampire Hunter D a few weeks ago and thought it was awful. There were interesting story ideas, cool characters, and deep mythology hidden within a terribly written and animated film. This sequel, made some fifteen years later improves upon everything in every way.

The basics of the story are essentially the same. This one opens up the mythology a little bit and adds some characters, but it is still Vampire Hunter D trying to rescue a beautiful maiden from a vampire.

In this version, set in the far future, vampires have essentially ruled the world for centuries, but they are slowly dying out. Or rather they are slowly being killed by vampire hunters. Most of these are humans, mercenaries looking for big paydays and a bit of danger. But D is a dhampir – half human half vampire.

The girl, Charlotte (Wendy Lee) is taken from her home by Meier Link (John Rafter Lee) a vampire of nobility. Her family pays D (Andy Philpot) a hefty downpayment (with promises of much more if he succeeds) for rescuing her.

They’ve also paid The Marcus Brothers, a motley crew of hunters to do the same. They mostly consist of the same type of characters you get in any film with mercenaries – rough-and-tumble dudes who are good with specific weapons and get smart-assed with their dialogue. There is one lady Leila (Pamela Segal) and a bedridden psychic who can psychically leave his body and do severe damage to his enemies with his mind.

Leila gets the most screen time and she is the most interesting. The rest of her crew immediately take a disliking to D as they see him as competition. But Leila forms a friendship of sorts with him. He rescues her then she rescues him and they form a bond.

There are monsters, including a shapeshifter and a werewolf, they must battle but those scenes are short, and the fights are finished fairly quickly. It is as if the film understands that the monsters might be fun to watch for a minute, but it is the characters that are going to create fans.

The story is mostly good, though it borrows heavily from other stories and periodically drags. It is still lightyears above what they did in the first film.

The animation is gorgeous. The film wanders from a desolate desert to a great forest and we spend the third act in an enormous gothic castle. All of it is rendered beautifully. The characters are well-drawn and the action flows like the best live-action movies do.

It is astonishing how much better this film is than the original. Highly recommended.

The Friday Night Horror Movie: Demon City Shinjuku (1988)

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One of the things I love about doing these monthly movie themes is that it not only allows me to watch movies I might not otherwise watch, but it gives me a greater understanding of the history of cinema. I learn things I might not otherwise come to know.

For example for Animation in August I’ve watched several Japanese animated movies and this has brought to my knowledge banks the term OVA or Original Video Animation. That’s basically a Japanese version of straight-to-video applied specifically to animation.

Like straight-to-video releases OVAs had more freedom than their cinematic or televised productions had in terms of length and mature content. An OVA could be as long as it needed to be and they were allowed more freedom in the amount of violence, adult language, and sex/nudity they could use.

Demon City Shinjuku is an OVA adapted from a novel of the same name. It follows a reluctant hero’s journey into the heart of Tokyo which has been overrun by demons.

It has more than a passing similarity to Star Wars, with some terrific animation, and some pretty cool demon designs. But it suffers from some terrible writing (or possibly a very bad translation).

In a prologue, we learn that an evil dude called Rebi Ra has allowed himself to become possessed so that he can wreak evil havoc upon the world. A good dude called Genichirou tries to stop him but is killed in the process. A giant earthquake happens during their battle wrecking the Shinjuku part of Tokyo. Demons quickly take over this area.

Ten years later Genichirou’s son, Kyoya Izayoi is tasked with going into the city and destroying Rebi Ra. He is accompanied by Sayaka Rama the daughter of the World President who has just been kidnapped by Rebi Ra. If they fail Rebi Ra will unleash all the demons and conquer the world.

Along the way, they obtain help from a short rollerblader who is just out for himself but ultimately finds his soul and a Dracula-esque mysterious goth dude. There is also Aguni Rai an ancient mystic who periodically offers advice.

They come across several demons before ultimately fighting Rebi Ra. There is a crab-like creature with a human head and a giant mouth full of teeth in its torso and a sexy redhead with tentacle arms.

All of this is pretty good. I enjoyed it. But the dialogue is rotten. Generally speaking, I watch foreign language films in their original language. I much prefer hearing the original actors’ voices even if I don’t actually understand what they are saying. With animation, I am a little more lenient since there is a realization that all actors are dubbing in their lines (it helps that most of the foreign language animated films I’ve seen are dubbed by really good English-speaking actors).

I started watching this film in the original Japanese with English subtitles, but something was wrong with the audio causing none of the film’s score or non-verbal noises to be heard. So I had to switch to the English language dub. It was…not good. And strange at times. The male characters were all very horny and they dropped F-bombs on a regular basis. I’m not necessarily opposed to either of those things but they often seemed out of place in this film.

For example, one night Kyoya Izayoi and Sayaka Rama find themselves in the same bedroom for the night. After Syaka goes to sleep Kyoya begins to look at her longingly. The camera slowly pans down her body so clearly some of this is in the original script, but in English, he goes on and on about how he wants to sleep with her.

And his dialogue is loaded with F-bombs in the oddest of places. He’ll throw one in the middle of an otherwise innocuous sentence. So much of it felt like some American scriptwriter trying to make the script more edgy.

It was bad enough that I turned on the subtitles just to compare. Gone was the hard-core cursing, but also quite a bit of the dialogue was tweaked to give it different meanings. It wasn’t the case of just some minor word changes, but entire sentences would be different. I think the gist was still there but it was clear the dialogue was translated with some different intentions than the subtitles. I also noticed there were times when the character’s mouth wasn’t moving, the subtitles weren’t indicating anything was being said, but the voice actors were talking. At first, I thought it was an internal monologue but now I think it was just the English language track adding in additional dialogue. There is a scene at the end where our two heroes are looking at each other longingly and then they kiss. His mouth doesn’t move, and there is no subtitle, but the English track has him thinking something really cheesy about how beautiful she is.

That’s far too many paragraphs of me discussing this film’s audio track. I don’t know what it all means. I just found it weird and distracting.

So, I recommend the film, but definitely try and find the original Japanese audio.

The Friday Night Horror Movie: Wicked City (1987)

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Renzaburō Taki has been chatting up Makie at a Tokyo bar for months. Finally, she agrees to take him home with her. As soon as they arrive she strips off her clothes and they have passionate sex. As soon as he is finished she shows her true colors. She’s a demon. She morphs into a spider-like creature with long appendages and a mouth-like vagina that’s full of teeth. He manages to pull out before she chomps his member off and she flees out the window.

Outside, in the dark edges of the city live the creatures of the Black World. They are demons from an alternate dimension who can look like humans when they need to and live among us. Centuries ago a truce was made between the humans and the demons and they’ve lived peaceably together. Within a few days, a new pact must be signed, but there are rebel factions on both sides who want to stop that treaty from being signed.

Taki is a member of an elite organization known as the Black Guard designed to keep the peace between humans and demons. He’s assigned to protect Giuseppe Mayart, a 200-year-old mystic who signed the last treaty and will be instrumental in ensuring the new one is signed as well.

Taki is teamed with Makie a Black Guard from the Black World. They go through a series of adventures battling an assortment of demons trying (and often failing) to protect Giuseppe.

Wicked City is an inventive, beautifully designed bit of animated horror. Taki acts like a gumshoe out of some old film noir. Makie is cool as a cucumber. She’s not exactly a femme fatale, but she has that ice-cold attitude. The look of the film is a mix between neo-noir and steampunk. The demons are pure Japanese tentacle monsters.

I loved most of it. The story is good, the characters interesting, and the filmmaking is mostly spot-on. I love a good mix of crime stories and fantastic monsters.

However, if I may issue my first-ever trigger warning in a movie review the film is quite misogynistic. Nearly every man oggles Makie and whenever she is sexually assaulted (and she is sexually assaulted more than twice) the film lingers on her naked body. It is obsessed with her breasts. Even while being gang raped they make her moan with pleasurable noises.

Now I’m not against sex in cinema, and I’ve enjoyed the male gaze in more than a few movies. I’m fine with characters who do evil things and there are times when sexual assault and rape can serve a purpose. It sometimes does serve a purpose here. But the way those scenes are filmed made it more than a little gross.

If you can get passed that though, it is quite a good film. The world-building is excellent and some of the demons are truly terrifying, and weird, and imaginative. The animation is beautiful (and weird, and imaginative). Definitely recommend it for those who think they can stomach it.

The Friday Night Horror Movie: Phase IV (1974)

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Saul Bass was probably the only person to become famous for creating title sequences for movies. He did memorable title sequences for films such as The Man With The Golden Arm (1955), North By Northwest (1959), and Anatomy of a Murder (1959). His titles were innovative and beautiful, and they gave you a sense of the essence of the film you were about to see. The Criterion Channel once had a collection of films based on his title sequences alone. He also designed movie posters and was an award-winning graphic designer for commercial projects.

In 1974 he directed his first and only feature-length film. A science fiction/horror film about mutant ants that try and take over the world.

Phase IV is a meditative, art-house film tackling a subject that wouldn’t feel out of place amongst 1950s sci-fi b-movies such as The Blob, or The Fly, or The Brain Eaters.

It is full of extended, wordless scenes that concentrate on nature, or more often than not, insects – mainly ants. There are extreme close-ups of real-life ants, and beautifully rendered shots of hand-crafted miniatures.

There is some hard science fiction with scientists endlessly staring at computers and working with test tubes, and a lot of nonsense dialogue and character beats. It is incredible to me that Saul Bass chose this rather off-putting, strange little monster movie to be his directorial debut.

The story goes something like this. A strange cosmic event happens over Earth. Humans are all excited about it, but after a week with nothing extraordinary happening they all go about their lives. Except for one scientist, Ernest D. Hubbs (Nigel Davenport). He realizes that something strange is happening to the ants. They seem to be evolving – communicating with each other and working as one, towards some unknown goal.

The ants build these large monoliths in the Arizona desert. Hubbs convinces the government to build a science station next to them and recruits James R. Lesko (Michael Murphy) to help him. All nearby residents flee, leaving the scientists all alone. All residents except one small family.

Soon enough the family is attacked and killed by the ants. The only survivor is Kendra (Lynne Frederick) comes to stay with the scientists at the station.

The humans spray the ants with some kind of goo which deters them for a time, but soon enough the insects learn to cope. The humans destroy the monoliths. The insects build a reflective surface that sends the sun’s heat directly into the science station, drastically raising the temperature inside. The humans decipher some of the ant’s language. The ants infiltrate the station and start tearing up the machinery.

On and on it goes. Humans are against nature. It is an old story told in a beautiful, strange way. I don’t know how to explain this film, except that you should do yourself a favor and go watch it.

The Friday Night Horror Movie: Brightburn (2019)

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There is a Superman comic that wonders, “What if Superman was a communist.” Instead of landing in a cornfield in Kansas and being adopted by the wholesome Kent family baby Superman instead lands in Russia. In this version, Superman is still essentially a good man, a superhero of sorts, but his ideology is warped by 1980s Russian politics.

Brightburn keeps the idyllic Kansas setting but imagines “What if Superman was evil.” Technically it isn’t Superman, or even Clark Kent, he’s called Brandon here and he’s played by Jackson A. Dunn, but he is an alien baby that lands on a farm in Kansas and is raised by a wholesome couple. Superman’s origin story is so ingrained into our cultural membranes that those images immediately bring him to mind.

The film skips any scenes on the kid’s alien planet. It flashes pretty quickly through the growing-up stage. The couple, Tori (Elizabeth Banks) and Kyle Breyer (David Denman) have been able to conceive a child on their own so they are thrilled when a baby lands in their lap (even if he does crash in a spaceship). A quick montage brings us to him turning 13 and hitting puberty.

He’s an awkward kid, but smart. He thoroughly answers the teacher’s questions and is mocked by some bullies. But a pretty girl turns to him and says that smart people rule the world.

The spaceship, locked inside the barn, calls to him. It tells him he can rule this world. His powers come slowly. When that pretty girl later calls him a pervert (because she caught him spying on her in her bedroom) he breaks her hand.

Then he starts killing people. His parents are slow to recognize the signs. They love him after all. But when the bodies start piling up even they have to realize their son is evil.

There are some great ideas in Brighburn. I love the premise, but it sticks very few of its landings. There is no real sense of who he is, or where he comes from. The ship communicates to him somehow and tells him he can control this planet, but why? Was he sent there for that purpose? There isn’t any real internal conflict either. Sometimes he seems like a good boy who loves his family, and then something angers him and he starts killing.

You could read this as a metaphor for puberty and well, as someone who is raising a teenage daughter right now I can tell you the moods do swing for no apparent reason, and maybe that is enough here. But it didn’t work for me.

Most of the choices the film makes are pedestrian. Even the ones that don’t do what a typical superhero film would do are easily guessed at. So many times I wished the film would do something really surprising with its premise, and it never did.

Except for the kills. Those were pretty gnarly.

It isn’t a terrible film, it just isn’t as good as it could have been. That’s disappointing.

The Friday Night Horror Movie: Frankenstein Created Woman (1967)

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Hammer Studios made a name for themselves in the 1960s and 1970s by remaking and updating the classic Universal Horror Monster Movies. They were stylish and full of wonderful sets. They were more violent and sexy than those classic films, though they come out looking fairly tame by today’s standards.

They made numerous Dracula, Frankenstein, and Mummy films (I don’t believe they ever made an Invisible Man or Creature from the Black Lagoon film), most of which starred Christopher Lee and/or Peter Cushing. I’ve talked about a few of them in these pages. I have a great fondness for them all.

Frankenstein Created Woman was the fourth film in Hammer’s Frankenstein series (there would be seven in total.) It is a bit of a strange one in that it doesn’t seem to have much of a connection to the other films other than Peter Cushing playing Victor Frankenstein, and him continuing to be a mad scientist.

Here he isn’t so much reanimating freshly dead corpses, but capturing the souls of the recently deceased and placing them in fresh bodies. It is also strangely, almost accidentally progressive.

It opens with Frankenstein lying dead in a sort of deep-freeze coffin. He’s been dead for exactly one hour and at that precise moment, his assistant Dr. Hertz (Thorley Walters) resuscitates (or resurrects?) him. This proves to Frankenstein that a person’s soul does not immediately leave the body at death. Something he surely must experiment with.

Meanwhile, his other assistant, Hans (Robert Morris) is having a love affair with Christina Kleve (Susan Denberg) a woman who is disfigured and whose body is partially paralyzed.

Soon enough he’ll find himself being guillotined for a crime he didn’t commit and she’ll commit suicide shortly thereafter.

Naturally, Frankenstein takes this as an opportunity to capture the soul of Hans and put it into Christina’s body. This is where the film gets accidentally progressive. It apparently doesn’t occur to our friend Baron Victor Frankenstein that putting a male soul inside a female body might be considered strange (I mean stranger than reuniting a dead person). He doesn’t seem to consider it at all. For a brief moment, Hertz raises the question but it shuts down with a singular word from Frankenstein.

The film doesn’t really do anything with the concept after that either. There aren’t any moments where Hans’ soul is questioned about what it is like inhabiting a woman’s body or anything of the sort. No one ever mentions the fact that he could have simply resurrected Christina without Hans’ soul and his experiment would have still been a success.

Frankenstein also fixes all of Christina’s ailments (well, technically Hertz does the actual surgeries as Frankenstein’s hands no longer work – something I think that happened when he was frozen). She can now walk properly and her face is beautiful. No one questions why he didn’t do this while she was properly alive. That would have actually been something the entire community could get behind.

Anyway…

The two souls seem to exist simultaneously. Christina is more or less in control, but she hears Hans talking to her – he mostly screams at her to kill the people who committed the crime that got him executed.

It is a strange entry into the Frankenstein universe. There isn’t really a monster, just a nice girl who gets her dead lover’s soul implanted inside her body. Even after she (or they) start a murder spree the film is on their side. It seems to justify their crimes since the people getting killed were jerks in the first place.

So she’s not really a monster. There aren’t any townspeople with pitchforks, and Frankenstein isn’t all that involved in his own movie. We spend more time with others, developing relationships than with Frankenstein in his lab.

But it kind of worked for me. I am a great fan of these Hammer Horror films. They are often rather slow and meandering, but there is something I just love about them. This is no exception.

You can stream the film for free on the Internet Archive.

The Friday Night Horror Movie: The City of The Dead (1960)

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Christopher Lee made well over 200 films in his storied career. Not all of them were great, of course, out of the 40 I’ve seen only a few of them are truly wonderful. But I love him just the same. From the late 1950s through the early 1960s he had a run of horror films that are just terrific. Many of them were made for Hammer Studios and I’ve talked about a few of them, but he made plenty of other films for other studios as well.

The City of the Dead was put out by British Lion Studios. It was directed by John Llewellyn Moxey who mostly did TV work (including the influential The Night Stalker in 1972). It is a slight, but evocative slice of gothic heaven.

Lee plays Alan Driscoll a history professor whose lecture on the New England witch trials intrigues his student Nan Barlow (Venetia Stevenson). Enough to make her want to take a trip there to get some first-hand sources. Driscoll recommends the small town of Whitewood and tells her to stay at the Blackbird Inn, where his name will guarantee her a room.

One fog-filled night she drives to Whitewhood. Along the way she’s warned off by an old man at a petrol station, then she picks up a creepy hitchhiker who magically disappears when she arrives and is met at the inn by the mysterious Mrs. Newless (who looks suspiciously like – and is played by the same actress, Patricia Jessell – as the woman we saw burned at the stake in the flashback sequence that begins the film).

Strange things are afoot at the Blackbird Inn.

I won’t spoil what happens next. Not that anything that happens is too surprising, the film’s plot is pretty standard stuff, but it has style to spare.

The town is in a constant state of fog creeping in. The buildings are all in disrepair, making it look ancient and decrepit. The cemetery with its crosses sticking out at odd angles sits in the center of town. The stark black-and-white photography gives it an eerie quality.

The townspeople are creepy as can be. Nan has a boyfriend back home, and a brother. She befriends one friendly lady in Whitehall. They all come looking when she goes missing, giving the film some needed action.

At just under 80 minutes in duration, it all goes down quick and smooth. I had a marvelous time watching it.

The Friday Night Horror Movie: Dream Demon (1988)

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A beautiful, upper-class schoolteacher prepares to marry her military hero husband. But instead of saying “I Do” she declares that she cannot marry him. He rebukes her with a slap to the face. She responds in kind and knocks his head plumb off of his body. She flees the church with her white wedding gown covered in bright red blood.

This is a dream of course. Diana (Jemma Redgrave) will have many more of them before the film ends. Many, many more of them. I’d say a good 2/3rds of the film is dream sequences.

The dreams aren’t particularly scary, or even all that inventive. While watching this I kept thinking that if someone like David Lynch had directed it, Dream Demon would be a true classic. He’d create nightmares that we’d be talking about for decades. Instead, we get a lot of long hallways, a creepy basement, and the occasional man on fire.

Despite all of this I still quite liked the movie. What the dreams lack in imagination they make up for in beauty and mood. They are all shot with dramatic, shadowy lighting and wonderfully moody colors. They are…well…dreamy.

The plot outside of the dreams involves Diana trying to understand why she is having these dreams. Is she just nervous about getting married like her therapist suggests, or is there something more nefarious happening? Despite the title of the film, there isn’t anything supernatural going on, although it does owe a great debt to A Nightmare on Elm Street made just a few years earlier. But sadly, there is nothing akin to Freddy Krueger stalking her dreams. The film could really use a good villain.

There are a couple of obnoxious paparazzi types hanging around and one of them (played by the great Timothy Spall) features in some of the dreams, getting more and more grotesque with each one. But they ultimately don’t amount to much.

She’s helped by Jenny (Kathlene Wilhoite) an American who says her biological parents used to live in Jenny’s house, but she was adopted as a young girl and has no memory of them.

The two begin sharing dreams, each living inside the other’s nightmares and they begin to be afraid that they will never escape them.

Unlike a lot of movies of this sort, neither girl makes any real effort to stay awake. They don’t drink coffee by the gallon or try to remain standing or anything. Diana falls asleep a the drop of a hat. She’s constantly nodding off while sitting on the couch or anywhere else. Despite the fact she’s terrified of what she might dream of.

The resolution is as unimaginative as the dreams, and yet again I still quite enjoyed the film. There is a mood that the film is vibing on that I found to be pretty great.

The Friday Night Horror Movie: The Devil Rides Out (1968)

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I am 100% a fan of Hammer Horror. I love the production designs, the sets and costumes, and the way their films looked. I love their stable of great British actors including Peter Cushing and Christopher Lee. I’ve watched something like 28 of the 70 or so films the studio made in the horror genre. So again I say I am a fan.

But I have to admit, that while I love a great many things about these films, I often find them rather dull. The films look gorgeous, and there is often a wonderful amount of sex and violence for a 1960s production, but the plots often have this staidness to them. There is a lot of boring talking and exposition that takes place that just causes me to nod off.

The Devil Rides Out (or The Devil’s Bride if you prefer) kept me completely enthralled from start to finish. It is quite wonderful throughout.

Christopher Lee stars as Nicholas, Duc de Richleau (who was apparently a recurring character in a popular series of novels from 1933 to 1970) a nobleman with a sturdy education and who is well-versed in the occult.

When his friend Rex Van Ryn (Leon Greene) returns home from a long voyage they decide to stop at their mutual friend Simon Aron’s (Patrick Mower) house. There they are met by a strange group of people Simon calls his Astronomy Club, but whom Richleau quickly deduces is a satanic cult.

They manage to rescue him from the house but almost immediately lose him again. They rescue him a second time, this time from a Satanic Orgy/Baptismal ceremony where a goat-headed Satan has been summoned. They also rescue Tanith Carlisle (Niké Arrighi) who was also supposed to be Satanically baptized that night.

Simon and Tanith are both somewhat under the spell of the head Satanist Mocata (Charles Gray). He can sometimes mind-control them into doing things for him (and sometimes he can’t depending on the needs of the script).

It is all a bit silly, but it won me over by the power of the performances (especially Christopher Lee who is always great, but especially wonderful here). Unlike a lot of Hammer films which tend to lean into their silliness, The Devil Rides Out is completely serious in its presentation and it is all the better for it.

There is a scene in the back half of the film in which Richleau creates a circle of protection that he and his cohorts must stand in to resist the power of Mocata. It begins with most of his friends being skeptical. It is a bit silly to think a chalk circle with some Latin written in it will protect them from anything. But then there is a loud knocking on the door and the sound of Simon yelling to be let in. Then a giant spider attacks, followed by Death riding a horse. The effects are cheap and goofy, but somehow effective. By the end, everyone is terrified, including me.

It is a scene that shouldn’t work. In the hands of less competent people, it wouldn’t work. And yet it is one of my favorite scenes in all of Hammer Horror. The entire film is like that. It shouldn’t be as good as it is, but somehow it is all pulled off magnificently.

The Friday Night Horror Movie: Late Night With The Devil (2023)

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Late Night With The Devil is a sort-of found found-footage horror film about a late-night talk show that goes horribly wrong one Halloween night. Other than a short intro setting things up the entirety of the film takes place in real-time as we are watching tapes of the show from 1977. During what would be the commercial breaks we see behind-the-scenes footage as the host, guests, and crew relax, prep, and talk about the show without the cameras sending images to the world.

Night Owls with Jack Delroy is a typical late-night show from the 1970s. Think The Tonight Show with Johnny Carson a show the movie references several times as Night Owls is never able to gain the same ratings Carson does.

It is hosted by Jack Delroy (a terrific David Dastmalchian). The film’s introduction lets us know he’s incredibly ambitious and constantly let down that his show doesn’t get better ratings. After his wife dies of cancer (the episode in which she appears, clearly very sick and telling stories of their relationship gives the show its highest ratings to date) he is a changed man. The show never recovers and is on the verge of cancellation.

The Halloween Episode that we watch is a last-ditch effort to get the ratings they desperately need. Guests for the night include a hokey medium called Christou (Fayssal Bazzi), Carmichael Haig (Ian Bliss) a former magician turned skeptic, and June Ross-Mitchell (Laura Gordon) a parapsychologist who has brought with her Lily D’abo (Ingrid Torelli) a teenaged girl who survived a Church of Satan-esque cult and now is believed to be possed by a demon.

It is well made. The sets and costumes look very much like how a talk show circa the 1970s looks. They have the feel of everything exactly right. There are some nice jump scares but mostly it creates an increasingly creepy mood that eventually blows up into holy-crap territory.

I liked a lot of it, but I gotta admit I just don’t love this type of found-footage horror movie. I saw The Blair Witch Project in the theaters and absolutely loved it. But that film showed us edited versions of the found footage. Or at least they periodically stopped the cameras allowing us to jump forward in time, skipping the boring bits.

Films like this, which exist in real time become tedious to me. We see the opening credits to Night Owls and then we watch it unfold just as a real audience might have watched it from home. The behind-the-scenes footage during the commercial breaks is shot in black-and-white and breaks things up a bit, but it still unfolds in real-time.

There is an opening monologue filled with the types of dumb jokes all these shows have. There is a sidekick who riffs along with Jack. Cristou, the first guest talks like any of those so-called psychics you can find on late-night television and morning Zoo radio programs.

Obviously, any horror movie had to build towards the scares. You don’t start things immediately off with the horror or you have nowhere to go. But making me sit through a late-night talk show, something I have come to loathe in real life, just isn’t the way to go to win my heart.

It does get there in the end. It gets terrifically scary as the tension revs up and the demon possession seems more and more real. It is definitely worth watching, especially if you are a fan of found footage films. For me I can’t help but feel a little disappointed, even while recognizing the skill by which is it made.