Unseen Terror 2022: Catching Up, Wrapping Up, Up Yours

 Y'know, maybe doing these in spurts rather than daily entries is a bit easier for me than I thought. Then again, I'm hoping that when/if I get around to doing this yet again next October, my life will be a little less hectic and full of fewer moments where I want to pull my hair out and strangle myself with it. Anyway, here's the last batch for 2022's iteration of "Unseen Terror." Let's not waste any further time.

DAY 25: 

My familiarity with 1998's Halloweentown, which revolves around a group of kids (whose grandmother may or may not be a witch except she totally is) who accidentally find themselves in another world where monsters live and interact with one another on a normal basis, is.......actually, I had never even heard of this made-for-TV flick until perhaps a year or so ago. I feel as though when it initially premiered on Disney back in the day, I had focused my shift on other programming that catered more to my angsty, preteen self (a.k.a. it's hyper violent anime and "attitude era" wrestling or nothing at all). Still, the list of family-friendly spooky features is nowhere near as impressive as it once was, so I figured that finally adding this to my queue was long overdue. I kind of wish that I had deviated from the norm during the latter half of the 90s however, because for every charming part that can be found in Halloweentown, there is a bit too much in the way of "lowest common denominator" goofiness for my liking. Don't get me wrong, I usually adore a good silly horror/horror-adjacent movie from time to time, but this REALLY relies on you having young ones of your own to watch it with. A lot of the jokes fall flat, though the late Debbie Reynolds' charm does prevent it from ever falling over completely. If I didn't detest the idea of having children or of having people make physical contact with me, I feel as though I would've been into this a bit more. As it stands though, it's still serviceable. Nice to see Judith Hoag of Teenage Mutant Ninja Turtles fame pop up in something else too. She's pretty fun and still one of my earliest childhood crushes.

DAY 26:

Another "cheat" day for me. Oh well. Not much else I can talk about when it comes to the wonderful 90s cheese that is Bride of Chucky. It's a silly romp with some very stylish kills and a snazzy script that is unapologetically "90s." I think my only real complaint comes from the lead humans being so dreadfully uninteresting though. I don't know if Andy Barclay was necessary for every entry in the Child's Play franchise (especially given how awesome Fiona Dourif's Nica is later on), but the young lovebirds here (one of whom is played by a very young Katherine Heigl) are just so bland compared to our protagonist from the prior three movies. Still worth checking out, even if it is a tiny bit dated. Soundtrack still kicks an unholy amount of ass though (especially that Monster Magnet song).

DAY 27:

It appears as though The Simpsons duped me this year. Around this time every October, their annual "Treehouse of Horror" anthology airs on television, and in more recent years, ends up on either Hulu or Disney afterwards. Even though I've grown pretty darn tired of the show that I will still refer to as my favorite animated show of all time (if you're willing to forget that it's been bad/below average longer than it's been good at this point), I will always make an effort to watch those however I can. Much to my delight, I saw that the newest entry, which seemed to include a segment solely dedicated to parodying Stephen King's It (more so the 2017 adaptation), was up on Hulu. Then it started, and I realized this was an ENTIRE EPISODE dedicated to this parody. As it turns out, the REAL "Treehouse of Horror" anthology had yet to air on Fox, and this is sort of a special treat to tide us over for the time being. The episode, titled "Not It," is.... fine. Nothing particularly noteworthy other than saying that the animation department deserves a raise for making this look as good as it does (the Krusty/Pennywise character has some particularly nasty-looking transformation sequences) and poor Julie Kavner needs a goddamn break already. A decent time killer, but not much more beyond that.

DAY 28:

Finnish horror doesn't really get discussed too often, does it? To be fair, that's because Finland doesn't have the largest selection of scarier titles to choose from. Hell, off the top of my head, the only one that comes to mind for me was Dark Floors (previously reviewed here) and the less said about that one the better. I do recall finding the initial trailer for 2022's Hatching on the always reliable Bloody Disgusting, and once I heard it described as one of the freshest takes on the "body horror" subgenre, I was fully on board. Plus, every poster I've seen kinda slaps.

Thankfully I was not disappointed in this rather creepy and bleak flick, and I think it will stand out as one of the best of this year's marathon. The story is centered around a young gymnast named Tinja, whose sole purpose in life is seemingly that of pleasing her arrogant, somewhat delusional mother. As an active "influencer" and vlogger, the mom is content on presenting herself, her husband, and her children as the ideal, average, yet pristine family that one could hope to become one day. After a strange set of circumstances leave Tinja having to mercifully kill a crow that her mother thought she had disposed of (it's a long story), she comes across an egg that (seemingly) belonged to the bird before its death. Tinja nurtures and cares for the egg in secret, but when it finally hatches, what emerges is something that will shatter the mind and change Tinja's life forever. 

The earliest comparisons that were being thrust towards Hatching's way were to that of the early 2000s gem Ginger Snaps (and not just because of having some deceptively gnarly-looking practical effects). While I do think that such a thing is unfair, it also isn't completely unwarranted. Without giving too much away, many of Hatching's themes and plot developments are not-so-subtle metaphors for puberty, breaking free of restraints, and "becoming" a woman. Tinja (played wonderfully by Siiri Solalinna) is a tragic character, whose peaceful demeanor and insistency that she can't displease her mother, echoing that of a few people that I know personally (and I'd argue to say even myself). You are truly rooting for her through all of the chaos. The rest of the supporting cast is also quite exceptional, with actress Sophia Heikkila playing perhaps the most detestable parental figure I've seen in a good while. It's the kind of performance where you have to really remind yourself that there is a good chance the actress is a wonderful person in real life, but man is she good at convincing you that she plays rotten people well.

Hatching is a truly remarkable and occasionally unsettling feature that will proudly sit as one of the better viewings from this year's marathon (unless you're an animal lover. There are a couple of scenes in here that are pretty upsetting to see). I'm always happy to discover new oddities from other parts of the world to add to my "favorites" list, and I'm also happy that we have another new female voice in the horror genre in the form of director Hanna Bergholm, whose career I'll be keeping a close eye on. It's currently streaming on Hulu in Finnish w/ English subtitles, and it has a pretty brisk running time to boot!

DAY 29:

I have not ventured out into the theater nearly as often as I used to pre-pandemic, and despite the fact that the highly lauded Barbarian (written and directed by Zach Cregger of The Whitest Kids U' Know fame) seemed to be playing for what felt like an eternity (primarily due to excellent word of mouth) I was not willing to risk getting Covid for a second time. True, I do work in retail, but at least there I can back away a bit if I feel like someone is standing just a tad too close to me. Thankfully the sleeper hit made its way onto the HBO Max streaming service about a week or so ago, so I was able to do some last-minute shuffling and properly squeeze it into my queue.

Without giving too much away, I can safely say that I truly regret not seeing Barbarian on a larger screen, and especially in a theater filled with vocal and passionate horror fans. It is structured in a way that certainly feels as though it was designed to elicit as many utterances of "Oh shit!" from an unsuspecting audience. I feel as though the best way to ensure that you enjoy this creepy little oddball is to go into it as blind as you can. Besides laying my eyes on its poster, my only familiarity came from seeing that Justin Long (playing perhaps one of the biggest, self-centered assholes I've seen all year) was in the cast, and he's easily one of the best aspects of this frequently chaotic tale about.... shit, I don't want to spoil much. Well, let's just say that it involves staying at an AirBnB and I'll leave it at that. Cool? Anyway, this is a very tight, well-crafted sick little flick that gives us another new(ish) name to keep an eye on in the world of horror.

DAY 30:

Oh, NOW we get the proper "Treehouse of Horror," huh? This friggin' show, I swear...

Anyway, confusion aside, the annual spooky Simpsons anthology is something I never miss, and much to my surprise, this may have been one of the strongest ones they've had in a long time. The first story is a not-so-subtle parody of The Babadook, with Marge and Maggie serving as the main characters and Julie Kavner doing her damnedest to not sound like she wants to keel over or cough up her larynx. It's probably the most forgettable of the segments, but it wasn't terrible by any means. The second story is undoubtedly the one that has garnered the most attention from old, new, and non-fans alike: "Death Tome" is The Simpsons doing an unabashed love letter to and parody of the classic Japanese series "Death Note." Hell, they even contacted the original studio behind the anime adaptation to animate this particular segment so that it looks as accurate as they can possibly be (without potentially getting sued I assume). Seeing Lisa play the role of Light Yagami and wielding the "power" to end anyone's life if she so pleases makes for some fun gags. It's a cute story and a real visual treat. Finally, the third story is an homage to "Westworld," wherein we discover that the entire Simpsons universe is closer to that of a Disney World-style amusement park. Naturally, something goes wrong, and the "Homer Bot" becomes self-aware while also trying to figure how to get out of this "Simpsons World." Even if you have no interest whatsoever in watching this year's "Treehouse" in its entirety, this segment is absolutely worth tracking down. It is primarily catered towards the "lapsed" fanbase with tons of easter eggs thrown in and it gave me some of the first genuine, hearty laughs that I've gotten from The Simpsons in goodness knows how long. It also features a charming little cameo at the very end from another beloved Fox character. Overall, a damn good surprise.

DAY 31:

It's funny: I don't know how 1980's utterly bizarre and trippy Altered States ended up as the last movie that I would end this year's "Unseen Terror" with, especially since I usually try to go out with either something Halloween-related or with something that is closer to "pure" horror. One could argue that perhaps this belongs more on a monthly "Sci-Fi" marathon than it does on one focused primarily on pure terror, but I suppose I'll be the one to say that this was far more unsettling and unnerving than most of the pictures I've watched during this year's selection. That, and you could make the argument for it being "body horror" even more than science fiction. Regardless of whatever you would like to classify it as, it should be go down as a damn fine experiment in the realm of cinema.

The plot to Altered States is a bit of a mouthful (then again, trying to describe most of Ken Russell's pictures can be rather difficult): William Hurt plays a psychopathologist who believes that our "other states of consciousness" are as just as real as the ones that we experience in our mundane, ordinary lives. He begins to experiment with different means in which to research this: first, he uses a sensory deprivation tank. Years later, he ventures to Mexico where he hears of ancient rituals involving sacred mushrooms and shrubs. He consumes a potion that gives him intense, horrific hallucinations and he begins to wonder if perhaps some of these visions are genetic memories rather than strange visions. To be perfectly honest with you, I do not know if I am even doing the greatest job at describing this. Of course, I can't pretend to sound eloquent if I just typed out "William Hurt does a lot of weird drugs and shit gets strange bruh."

There is a lot to unpack with this fascinating feature. For starters, it's easily the most unique film I've watched during this year's marathon and could arguably outdo any other entry from the past few years' worth of selections on this blog in terms of weirdness. The visual aesthetic and vibe in Altered States is a beast of its own. One may find themselves wondering if the late William Hurt (making his film debut here) may be experiencing morbid visions or flat-out prophesizing, and his performance is simply electric. It also has perhaps one of the more notorious instances of squabbling between a film's director and the author behind the source material that said film is an adaptation from. While I can't say that I've read screenwriter Paddy Chayefsky's original novel, my interest was most certainly piqued after watching this flick. He might've hated Ken Russell's handling of his story, but if there's even a smidge of what was seen here in the book itself, I can't wait to read it.

Altered States serves as one of the finest examples of how to combine sci-fi and horror into one, (mostly) cohesive, terrifying beast that can please both circles while also still doing just enough to potentially entice one side over to the other if they were ever hesitant. The acting and score are equally fantastic, and the visuals are striking enough to make you both want to try every drug imaginable and to never pick up anything that could even be construed as a "substance." It's a real feast for the eyes and the brain, and I could only imagine how this would've gone down had I watched it in another "state of mind."

And with that...we are finished. For now.

Come back very soon though, for I need to issue a proper update about the future of this marathon and give readers a nice little bonus or two. Stay tuned!

Unseen Terror 2017: Day 5

Four years after her friends and family were viciously slaughtered, Nica Pierce has been spending her time inside of a madhouse, having been wrongfully jailed for their murders. Due to an extensive amount of therapy, she believes these false accusations to actually be true, and that Chucky, the evil doll that she claims was the true culprit, is merely a figment of her imagination and an exaggerated extension of her psyche. When she begins to show signs of "normalcy," she is transferred to a medium security asylum. In no time, she familiarizes herself with the rest of the patients, and her group therapist starts to incorporate new techniques into their meetings, such as bringing the infamous "Good Guy" doll to a session. Admittedly perturbed by this decision, Nica finds it even more startling when she is paid a visit by her niece's caretaker, who delivers yet another doll to her as a gift. With tensions mounting inside of the mental hospital, Nica believes that something is amiss, and that perhaps her memories are far more akin to what they initially were before she was committed. Elsewhere, one of Chucky's first foes suspects that his friend has some new tricks up his tiny sleeve, and he may have to search for his newest victim before it is too late.



Years ago, I missed the opportunity to review writer/director Don Mancini's project Curse of Chucky, which was the sixth entry in the Child's Play franchise. I found the flick to be a shockingly good return to form for a slasher icon whose fate had seemingly been resided to pure comedy and mediocrity (that isn't to say that I still can't get some enjoyment from Bride of Chucky and Seed of Chucky). Thankfully, Curse was a well-shot, well-acted, and just plain sinister little film that I feel was unfairly dumped onto the home video market when it could have made a killing in theaters around the time of Halloween. As luck would have it, it appears that the flick made enough, though sadly not all of its tiny budget back, so we have been blessed with another chance to have some fun with good ol' Charles Lee Ray.


A first for the franchise, nearly ninety percent of the seventh entry is set inside of a cold, at times morose-looking hospital that shows little-to-no signs of sunshine or even temporary happiness. The decision to set almost the entirety of Cult inside of a mental institution works wonders in creating utter paranoia and moments that come close to claustrophobia. The fact that Nica is a paraplegic also means that, like in Curse, she can't fall victim to some of the clichés that most other "final girls" do (running away or full-fledged defense in particular). She's also arguably the best addition to the Child's Play universe in what feels like an eternity, and I do hope that Fiona Dourif continues to receive more roles in the future because of her performances in this series. She just has a terrific amount of spunk and energy that is exactly what these pictures need, and you feel every emotion that she expresses throughout its running time, be it sorrow, disgust, or sheer terror. The supporting cast is fine too, but even after giving us time to grow attached to them (Elisabeth Rosen's character of Madeleine, a mother who smothered her child, garners some sympathy), one just suspects that they will very likely end up as mere victims and nothing more. But boy oh boy do their deaths rank up there with some of the series' best. It's nice seeing series alum like Jennifer Tilly and Alex Vincent also pop back up, which gives the entire audience a nice feeling that they actually give a damn about these movies. I'm a fan of intertwining flicks and direct sequels (i.e. you don't have to use a completely new cast), and seeing that Mancini made the wise decision to have them return is kind of fantastic.


Not everything in Cult works to its favor though. Some of the plot details and connections can potentially give you an aneurysm if you try to think hard about it too much, but hey, these are slasher pictures involving a killer who stands barely above your knee and helped kill John Waters only thirteen years ago. There is also a subplot involving one of Nica's new friends suffering from multiple personality disorder that doesn't seem to go anywhere and feels slightly unnecessary. Finally, the film is riddled with almost too much black comedy, and it almost detracts from some of the more legitimately uneasy scenes, including a moment where Chucky argues with....someone else about who will get to kill one of our protagonists. It's amusing, sure, but feels slightly forced. I do understand the argument to keep these movies filled with a strange sense of humor though, because the concept alone is silly enough to most average moviegoers.


It is quite astonishing to see a franchise this late into its run produce what could arguably be considered some of the strongest material since its inception, especially in the realm of horror. Most long-running series tend to drive right off of a cliff and make you forget what made them so good in the first place (I'm looking at you Hellraiser), but Cult of Chucky is a solid reminder that such a thing is possible when you set out with good intentions, passion, and determination. Despite some of the problems found throughout, I can not recommend this enough and urge that if you are to seek this out, you should spend some money on it. I would stronger prefer that your hard-earned cash go into the pockets of someone like Don Mancini than say, Victor Salva (and no, I will not be reviewing Jeepers Creepers 3). The film is currently streaming on Netflix, but that version is essentially what can be considered a "theatrical" cut; removing necessary footage and a wonderful post-credits sequence. Instead, why don't you head down to your local Redbox or fire up your on-demand library and take a look for it? Or better yet, pick up the Blu-Ray on Amazon for a surprisingly cheap amount? Why, there's even a recently-released box set which contains every piece of long-running media that Chucky has been involved with!



Okay, save for that infamous moment where he and Rick Steiner appeared to be setting up a feud in WCW.

.....no wonder this company went out of business.



Tomorrow, it's a triple dose of material involving Ron Perlman, a pint-sized creature, and the lone DVD purchase that I made at Monster Mania in Maryland!