**Taking a break from posting reviews. Fresh posts in November 2025!

  I will be taking a break from posting film reviews so I can work on other projects. Thanks for reading and see you in November 2025!

SNOWMANIAC (2023)

 

(Director/screenwriter/editor/co-star: H. Owen Richardson)

Review

Two drunk guys, Robert and Eric, are outside a house in what seems to be the middle of a wind- or freeway-loud nowhere late at night. While one of them uses the telephone booth to call a cab, the other smokes a cigarette. The one using the telephone booth makes his call, steps out of the phone booth, and sees his friend is gone, somewhere in the oh-so-dark night (smoker is being killed by a knife-wielding person wearing a snowman mask). When the telephone rings—a callback from the cab company, likely—the Snowmaniac turns his attention to the phone guy.

Posted on Youtube and viewable for free, the nine-minute SNOWMANIAC feels like a proof-of-concept short film. While it runs like a series of scenes (not a story), it’s an effective, well-shot stalk-and-slay work, from its use of spare, spooky music to its muddy-dark background night (courtesy of cinematographer/co-producer Kai Hall), which makes it almost feel like a 1970s flick. The sound effects are crisp and ickalicious (e.g., when smoking guy’s tongue is ripped off the road sign), the acting is solid for its concept, and its creepy piano tune is a mood-effective capper for SNOWMANIAC.

H. Owen Richardson, who also wrote, directed, edited and co-produced it, played Robert. Ryan Skates played Eric. Tom Rockell played the Snowmaniac.

SILENT NIGHT, DEADLY NIGHT 4: THE INITIATION (1990)

 

(Director: Brian Yuzna. Screenwriters: Zeph E. Daniel, Richard N. Gladstein, and Arthur Gorson)

Review

After a woman’s building-leap, spontaneous combustion death, an aspiring reporter/classified ads editor Kim Levitt (played by Neith Hunter) investigates the story despite her dismissive male boss, Eli (Reggie Bannister, PHANTASM, 1979) and equally dismissive male colleagues at the LA Eye—one of these colleagues is her easy-going boyfriend, Hank (Tom Hinkley, WATCHERS II, 1990).

Kim’s investigation drives her to seek out a book on spontaneous combustion. She looks for it at a feminist bookstore (Bring Down the Moon) in the building from which the flaming woman leapt. While purchasing a book on the subject, she meets Fima (Maud Adams, THE MAN WITH THE GOLDEN GUN, 1974), owner of the establishment, who gives Kim a book, Initiation of the Virgin Goddess by J.B. Beattie, and invites Kim to a feminist-group picnic the following day.

Bizarre stuff happens to, and around, Kim. A filthy, oddly shy, and seemingly simple street guy (Ricky) follows her up to the roof and tries to hand her a hand-plus sized squirming larva. Cockroaches, in large numbers, appear in her apartment. She sees disturbing faces in everyday places (simulacrum). Her dreams and perceptions become life-threatening. All the while, she’s being stalked by Fima and her fellow female cultists who somehow are linked to Lilith, Adam’s rebellious ex-wife who is linked to “things that crawl.” It’s clear that Kim is changing somehow, and the cult has a lot to do with it.

While SILENT 4’s set-up isn’t hard to figure out, it’s a well-made (especially for a low budget direct-to-video film). The actors range from solid to excellent (especially Neith Hunter and Clint Howard, who plays the deranged but somehow tender Ricky), Richard Band’s mood-effective score is perfect, and Peter Teschner’s editing keeps SILENT 4 sharp and tight. Screaming Mad George (and FX company)’s disturbing and icky FX suit the visual-highlight moments of SILENT 4’s already unsettling milieu, all centered around Kim’s evolution, and maybe more—if she can break free of those counting on her sacrificing herself for them.

SILENT 4, a standalone film in the SILENT franchise, is worth watching if you don’t require a big budget to be entertained, and can appreciate an excellent, theme-ambitious cast and crew making the most of out of what little they have to work with, including often icky effects.

 Followed by the standalone SILENT NIGHT, DEADLY NIGHT 5: THE TOY MAKER (1991).

Deep(er) filmic dive

Brian Yuzna, one of the story sources for SILENT 4, has said that he was “not interested” in focusing on Christmas in SILENT 4, hence its few scenes highlighting the holiday season. Yuzna co-produced its sequel a year later and tried to make up for it by mandating that Christmas should be central to SILENT 5’s storyline.

 

According to IMDb, SILENT 4’s premise was going to be used for the third entry in the SILENT franchise but was rejected by the third entry’s filmmakers.

 

In one scene, scenes from SILENT NIGHT, DEADLY NIGHT 3: BETTER WATCH OUT! (1989) are broadcast on an onscreen television.

 

Neith Hunter (who played Kim Levitt in SILENT 4) played a character named Kim in SILENT NIGHT, DEADLY NIGHT 5: THE TOY MAKER, 1991). Clint Howard, who played Ricky in SILENT 4, played a character named Ricky in SILENT 5. Conan Yuzna, real-life son of Brian Yuzna, played Lonnie (Hank’s younger brother) in SILENT 4—he also played a character named Lonnie in SILENT 5.

According to Brian Yuzna, in a commentary track for a Blu-Ray version of SILENT 4, Yuzna said these recurring-name characters may or may not be the same characters, that he and fellow SILENT 4 and 5 filmmakers were “playing around” with names between the two films. . . He didn’t mention if Howard’s character (Ricky) is a call-back name to Ricky Chapman, younger brother of killer-Santa Billy in the original SILENT NIGHT, DEADLY NIGHT (1984) and the killer in the first two sequels that followed.

 

According to IMDb, the call letters on a television news reporter’s microphone is UZNA, a reference to the film’s director, Brian Yuzna.

 

The giant cockroach seen in Kim’s apartment is a reference to Franz Kafka’s The Metamorphosis. The long nose that Ricky wears during Kim’s ritual scene is a reference to Stanley Kubrick’s A CLOCKWORK ORANGE (1971).

 

According to Brian Yuzna, his son (Conan), who appears in the film as Lonnie, isn’t fond of mentioning/promoting his appearances in this film and SILENT 5. Yuzna mentioned this in his commentary track for a Blu-Ray version of SILENT 4.

THE ADVENT CALENDAR (2021)

 

(aka LE CALENDRIER. Shudder Original film. Director/screenwriter: Patrick Ridremont.)

 

Review

On December 3, 2020, paraplegic ex-dancer Eva Roussel (Eugénie Derouand) gets a surprise birthday visit from her close friend, Sophie (Honorine Magnier), who flew in from Germany to give her an old, pagan-Christian ornate, wooden German advent calendar she purchased from a “Munich Xmas market”. The back of the calendar reads: “Dump it and I’ll kill you.”

 

When Eva notes that it’s a “grim” statement, Sophie, shrugging, replies, “Germans are grim.” Eva opens the first date-door and eats the candy despite this and its three rules:

“Rule number 1. The calendar contains candy. If you eat one, eat them all. Or I’ll kill you.

“Rule number 2. Respect all rules until you open the last door. Or I’ll kill you.

“Rule number 3. Dump it and I’ll kill you.”

Crazy violent things happen at a rapid pace after she eats the first four candies (and continues doing so). Her father (played by an excellent Jean-François Garreud), who has Alzheimer’s and hasn’t spoken to her in some time, calls her and wishes her a happy birthday. An investor creep (Boris, played by Cyril Garnier) who aggressively hits on her has a car accident, not entirely unlike the car accident that made her a paraplegic—except he's dead in a horrible way. Other odd events, some good, follow. Many of these events are terrifying and dangerous for her and those around her, including her nurse boyfriend, William (Clément Olivieri).

This fast-paced, supernatural horror flick is an entertaining and an all-around sturdy movie, with its good acting, a strong script and ending, and an offbeat storyline. Animal lovers may cringe at one of its parts, although there’s no actual onscreen violence (or harm to the animal)—it’s all implied. This is a highly recommended French work, different than the usual Xmas terror fare.

MRS. CLAUS (2018)

 

(aka STIRRING. Director/screenwriter: Troy Escamilla)

 

Review

A Delta Sigma Sigma pledge sister, Angela Werner (Mel Heflin), is cruelly hazed by a sorority president, Amber (Kaylee Williams), and her clique. Shortly after that, the humiliated pledge kills the cruel sorority President and hangs herself.

A decade later, Amber’s sweet-natured sister (Danielle, played by Hailey Strader) is joining the same sorority, when the sorority sisters receive threatening Xmas-themed poems about “sluts.” People get systemically killed (garroted, stabbed, a large candy cane shoved down a guy’s throat, etc.) by someone dressed up like Mrs. Claus, complete with a mask.

It all comes down to a battle between Danielle (with some help) and the vicious Mrs. Claus. There’s a character-based twist (not entirely shocking but worthwhile). Its almost-solid finish is ruined by spot-it-from-a-mile-away sequel-friendly ending.

The good: Scream Queen Brinke Stevens (THE SLUMBER PARTY MASSACRE, 1982) is fun as Officer Julie Cornell, as is Helene Uddy (MY BLOODY VALENTINE, 1981; and THE DEAD ZONE, 1983) as Mrs. Werner. Kaylee Williams is also convincing as cruel Delta Sigma Sigma president Amber. The kill scenes are varied, effective (considering its micro-budget), gory and creative—credit their convincing bloodiness to makeup/special effects artist Heather Benson, who’s gone on to work on A-list films like KILLERS OF THE FLOWER MOON (2023). Mark D’Errico’s soundtrack is effective in many of its key scenes (e.g., a slow piano song with eerie female vocals).

Ultimately, CLAUS is a typical low budget slasher film with too much lag time between plot points, some seriously bad acting, and a too-strict adherence to horror clichés─despite its drawbacks, it’s not the worst Xmas body count film I’ve seen, though I’ll likely not watch it again.

 

Deep(er) filmic dive

Kaylee Williams also appeared with Brinke Stevens in BENEATH THE OLD DARK HOUSE (2022; director/screenwriter: Matt Cloude).

THE INFERNAL CAULDRON (1903)

 

(original French title: LE CHAUDON INFERNAL; American title: THE INFERNAL CALDRON AND THE PHANTASMAL VAPORS; U.K. title: THE INFERNAL CAULDRON. Director/screenwriter/producer/star: Georges Méliès)

 

Review

In this two-minute, G-rated silent short, two excitable, almost cartoonish devils stuff three humans into the titular flaming cauldron so that they can summon their sacrifices’ ghostly essences. While there’s not much storyline, the visual aspects, especially for a brief 1903 work, are amazing— Méliès, INFERNAL’s only credited player, appears as one of the bluish-green, shirtless devils (Belphegor, according to Méliès’s Star Film Company); the struggling souls are clad are soft pink, with other soft colors (yellow, orangish brass) sprinkled in the background. All of this was hand-colored by the prolific Méliès, a French illusionist and director whose talents innovated filmmaking with his (according to Méliès’s IMDb page) “use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves and hand-painted color”, pyrotechnics, soft focus, and storyboards. Méliès is especially famous for his 1902 film A TRIP TO THE MOON.

Great two-minute thrill, worth your time.

KRISTY (2014)

 

(Director: Oliver “Olly” Blackburn. Screenwriter: Anthony Jaswinski.)

Review

KRISTY opens with several hoodie-wearing people leaving a female corpse, Heather Price (listed as “Dead Girl” on IMDb), in a gray-morning field while a newscast is heard telling how she’s been missing for three days.

Cut to working-class college student Justine Wells (Haley Bennett) getting ready to spend her Thanksgiving break in her dorm with her roommate Nicole (Erica Ash). Nicole flakes on her “stay-behind” (as Wayne, a college security guard calls it) with Justine when her dad surprises her with a trip to Aspen.

When Justine, alone, goes to a nearby minimart for late night food, she’s in-store stalked by a creepy young woman wearing sunglasses and a hoodie. Justine leaves the store after the creepy woman leaves, only to encounter her driving a muscle car on the road. Justine manages to lose her, makes it back to her dorm and takes a nap, thinking everything is okay despite the “weird” (her word) encounter with the pierced-lip, creepy woman (Violet, played by Ashley Greene). Everything is not okay, because she’s been followed by not one, but several hoodie-wearing strangers, and as her terrorizers up their assault tactics, it looks like Justine—although a capable fighter—might not survive the night.

KRISTY is a good, steady-build slasher film, with effective foreshadowing, solid acting, a few solid twists (the killers are not random), and equally effective cinematography (credit Crille Forsberg) and consistent, mostly entertaining flight-and-fight pacing (editor: Jeff Betancourt, THE GRUDGE, 2004)—aside from a few instances when Justine should end her would-be killers instead of running. KRISTY isn’t memorable, but it’s well-shot, well-written and tightly edited, a relatively non-gory flick that provides some welcome T-Day thrills and chills.

 

KRISTY’s other notable cast members include:

James Ransone (SINISTER, 2012) as Scott, Justine’s friend and would-be protector;

Chelsea Bruland, a stunt woman in quite a few films (including Dawn of the Planet of the Apes, 2014) as Heather Price, or “Dead Girl” (as IMDb lists her role);

and

Mathew St. Patrick (SIX FEET UNDER, 2001-2005) as Wayne, a  night-shift security guard in Justine’s dorm.