Unseen Terror 2018: Day 4

A space shuttle called "Nautilus" is heading back to earth, but unexpectedly, it passes through a cloud of alien spores. The lone occupant, a simple man named Steve, is mutated by this exposure and turns into a giant, bloodthirsty creature. Nautilus crashes into a Florida swamp, and it doesn't take long for this new beast to begin wreaking havoc on the populace. It feeds on people as if they were snacks, spreads new, infectious spores of its own, and eventually catches the attention of a small band of town folk. Will they be able to band together and bring down this behemoth, or has its evil spread too far too quickly ?

I mean, how else am I going to start a review of any picture with the likes of Fred Olen Ray AND Jim Wyorski attached to it? For those unfamiliar with that gruesome twosome: if you're of my age, and have ever looked at most crappy straight-to-video "B" movies or late night Skinamax parodies from the early 1990s up until about the mid-2000s, there's a strong chance that they're involved somehow (though at least Wynorski has Chopping Mall to his name). It's arguable about whether they're the proper successors to guys like Ed Wood or not because unlike that infamous director, it wouldn't surprise me if they were conscious about their projects being quite lousy. As someone who was not fully aware of their involvement with Dark Universe, a blind buy from this past weekend's Monster Mania Convention in Hunt Valley, Maryland, I feel that properly reviewing something of this quality is like attempting to discuss flicks like Pocket Ninjas and Samurai Cop to the general public: it's beyond fucking hard.


First off, props to the VHSPS people for providing a very authentic replication of this movie's initial release. There's coming attractions for other obscure flicks that start right after I pressed "play" on this bootleg's main menu (one of which included Joe Piscopo, of whom I still harbor a grudge against because of Dead Heat). It's still absolutely a rip from a video tape, but there's TLC put into this. It sports a nice cover and wraparound that makes you truly feel like you've been teleported back to the glorious days of when video store chains could be found within reasonable driving distance. And with that, the authentic praise officially ends. Because oh boy, we've got a rough one here folks.


Dark Universe was reportedly shot for $40,000 over the span of ten days, and that sounds fairly accurate. The cast consists of Joe Estevez, who is his family's equivalent of a Zero Bar, and nobody else worth a damn. The former must have been rented out for a singular day, as he only appears in the opening scene and several television interviews that are scattered throughout its running time. Maybe they forgot that they had him at their disposal? As for the rest of them.....well, I'd say that they're not exactly capable of hanging with the best of the best, but when you consider what they have to work with, it's unfair to get mad at them. Perhaps the only standout comes from the resident "science guy" in the group, but it's hard to take him seriously when he's dressed like a dollar store Boy Scout troupe leader. Also, there's a ton of unnecessary breast exposure, but that's Jim "Bare Wench Project" Wynorski for ya.


Obviously, the technical aspects of Dark Universe are about what you'd expect from Ray and Wynorski (aka they're quite terrible). I'm guessing that part of the budget must have gone into making the monster, which was emitting some seriously bad VR Troopers vibes. It sports the ability to suck people dry ala the villain Cell from the Dragon Ball franchise, and uses a darting tongue not unlike that of a Xenomorph. When parts of it break off, they change into spores (which for all intents and purposes look like giant boogers) and can possess human hosts. Because of course it can. There's also a moment around the fifty-one minute mark where I audibly yelled "HOLY SHIT, A RABID ARMADILLO ON A STICK." I should have properly prepared myself for something like this, and I curse the fact that I couldn't drink while watching it. Bit of advice kids: don't work in retail. It'll kill any regular routine that you may wish to have.


Dark Universe is what would happen if you threw Predator, Alien, and The Fly into a blender, then threw that device into a dumpster fire. Hell when writing this review, I had to make sure that this wasn't already on Redlettermedia's "Best of the Worst" video series. In no world will this ever be called even a halfway decent picture, but it IS perfect "get drunk with your friends and laugh at it" material. Maybe I should have saved this one for the weekend. As of this time, there is no respectable way to purchase this turd (there's a DVD on Amazon that has Ray's face plastered on the bottom left of the cover), but if you're interested in seeking it out in any way, shape, or form, perhaps a visit to your local horror convention is the best method of obtaining it.



Also, why is it called Dark Universe when the film takes place in fucking Florida of all places?



Ugh, this film man. This film.



Tomorrow, we're gonna get back to viewing more "credible" material and welcome our old friend Clive Barker back to the blog!

Unseen Terror 2016: Day 29, Day 30, & Day 31

Well.....this is awkward. Honestly, outside of hanging out a few times with a beautiful lady who seems to dig me, I can't give any sort of valid excuse or explanation for why I am so late on finishing this year's edition of the marathon. Sadly, due to these circumstances and situations, I had to miss a scheduled screening of The Thing from Another World, which was my initial choice for day twenty-nine. Regardless of whatever happened, I have a job to do god damn it, so let's knock the rest of these out of the way, shall we?

The most important factors to me for deciding to check out 2008's Dark Floors came from the knowledge of it being a release from Ghost House Pictures (the production company co-founded by Evil Dead mastermind Sam Raimi), setting it in an abandoned hospital, and from seeing William Hope (Lt. Gorman from Aliens) as the lead performer. What will attract most of everyone else is the presence of Lordi as the sinister beasts perusing and haunting the premises.......yes, THAT Lordi. And for those reading this review while asking "who in the world is Lordi?" I suppose that the most appropriate description would be what would happen if you sucked all of the cool out of Gwar or Ghoul and replaced it with songs made by a group of people with matching Kiss tattoos. Sadly, they are for Kiss' Dynasty-era, and not Destroyer.


This Finnish production's story, from what one can seem to decipher, revolves around a young autistic girl named Sarah. The child's father is unhappy with the progress that her hospital has failed to make, so he takes her and they board an elevator along with other strangers from different backgrounds and professions. As the collective wait to be taken to their respective floors, they stop unexpectedly before they can reach their destination; finding themselves being stalked by demonic-looking creatures who may have possibly won the Eurovision Song Contest two years prior to these events. Despite this fairly basic concept, Dark Floors does have some potential buried underneath a ton of layers. But my goodness, those are some hideously ugly ones. The film feels extremely rushed, with the screenwriters (and even some of the performers themselves) seemingly acting like they aren't even sure about the direction in which it is headed. True, this can provide for some occasional quirky, genuine moments in other mediums (the cast of AMC's The Walking Dead was reported to have been left in the dark in regards to who would die in the newest season premiere, even going so far as to film multiple, alternate deaths), but everyone just seems confused, and it begins to rub off on the audience after a short amount of time. Due to its awkward pacing and very matter-of-fact dialogue, we are barely afforded any time in which we should get to know, or care about any of these characters. Couple that with the fairly terrible melodramatic acting, and you have something that was far too reminiscent of releases like Stephen King miniseries The Langoliers, the live-action adaptation of The Girl on the Train, or a fan-made Silent Hill film.


Despite my love for anything that connects heavy metal and horror (seriously, why aren't you watching Deathgasm or Black Roses instead of reading this?), I can't in good conscious recommend that anyone save for diehard Lordi fans watch Dark Rooms. Its problems make the movie feel like it's stuck in quicksand, and worse yet, the final conclusion for the flick doesn't really give us a great explanation for what in the world we just watched for nearly ninety minutes. Plus....we're still talking about Lordi here. Even if you are a well-versed fan, there aren't any drastic alterations made to their costumes or attires, so when they start attacking or terrorizing people, all you keep thinking to yourself is "man, that 'hard rock hallelujah' band is pissed off over something that I can't quite comprehend." This musical gathering (whose own cheeseball song "Beast Loose in Paradise" plays during the credits) may appear to be frightening if you have children that are still in preschool, but to everyone else, they just look extremely goofy. It makes me wonder as to how this could have been marketed to a single soul in Finland, especially when you consider how famous they are in their native country. Perhaps if you are in the mood to ponder such an unnecessary question, you could throw your money down the drain by buying it on DVD, or streaming it for free on HBO Go.




So, what can I inject into my brain that will erase the awful memories of this hellish Helsinki failure?

Ahhh, just what the doctor ordered.


....I'm not apologizing for that joke.


Before anyone decides to jump on me, I must clarify that I HAVE seen Re-Animator on more than a few occasions, though it has admittedly been some time since I last paid a visit to Dr. Herbert West and his laboratory full of ideas that explore the possibility of reviving dead tissue. But god damn, is there any better example of how to pick yourself back up after sitting through cinematic excrement? Well, at least in terms of media-related ways I mean.


As I established multiple times throughout the past, it seems wholly futile to discuss the greatness of particular motion pictures that are already well-respected in the horror community. What more can I say about movies like Evil Dead 2, The Thing, or anything else with credibility and stature that hasn't already been uttered throughout several decades? And yet, I was compelled to watch Stuart Gordon's big screen take on the titular H.P. Lovecraft story specifically because I have ran into far too many people at work, be they customers or not, who have never bothered to bat an eye at Re-Animator. The plot for this bad boy concerns a scientist named Herbert West (played by the extremely underrated, charismatic Jeffrey Combs) who has been experimenting with a serum that he has developed which can bring that which is recently deceased back to life, though with mixed results in terms of post-revival behavior.


If you are going to be meticulous about adapting short stories into full-length feature films, then I suppose that you could be a bit cross about adding side plots to Gordon and producer Brian Yuzna's reworking. Still, it's hard to even tell the difference between the two sources, as they spice up what was already a fairly fascinating story by injecting a lot of dark humor into the script and making sure that Herbert himself is not entirely unsympathetic. Much of that comes from a lot of wacky, black comedy, including multiple moments of corpses freaking out over their sudden return to the land of the living (the squabble between Combs and a pet cat is quite hilarious). There is an abundance of morbid charm and finesse that helps take it to the next level of excellence. More of the adoration comes from the strong cast, including standouts from previous season favorite From Beyond like the aforementioned Jeffrey Combs and Barbara Crampton, and Black Scorpion veteran Bruce Abbott. Nobody here does a bad job at all, with the devilishly creepy David Gale (star of another Unseen Terror entry titled The Brain) turning in a very memorable performance that only seems to get darker with every second that passes. For the very select few women who have never seen Re-Animator before: the final ten minutes could leave you traumatized, even if it's only for a temporary moment or two.


There is just so much to love and adore about Stuart Gordon's Re-Animator, which is one of the more wholly unique, creative, and hysterical takes on the concept of the zombie/Frankenstein formulas (pun intended). Perhaps in future Unseen Terrors, I will venture into the land of its sequels, which while receiving very mixed reviews, have always piqued my interest. If you are in the mood for something dementedly entertaining, Re-Animator is available for streaming on Netflix, as it is on newer horror-based subscription service Shudder. But hey, why not be more ambitious and just shell out a few bucks for the Blu-Ray instead?




Well, that will do it for....wait a minute, I can't end this on a movie that I've already seen. I have to throw in at least one more addition to the catalogue, don't I?

How oddly fitting that we began this year's marathon with a picture revolving around the horrors of man's mistakes (The Return of Godzilla), and now conclude with one about its own twisted beliefs (or lack thereof). For reasons unknown to even myself, I had never gone out of my way to watch 1973's highly-regarded and beloved The Wicker Man. It's a picture whose reputation as one of the best pieces of British cinema has grown exponentially over every decade that follows: a fascinating dissection about the clashing of religions and mankind's own bizarre, morose set of morals. For me, after the credits had wrapped up, I can't really see any reason to disagree with these opinions.


For the uninitiated, The Wicker Man revolves around a British sergeant named Howie, who has received an anonymous letter in the mail from a concerned citizen residing in the secluded area known as Summerisle: they claim that a young girl named Rowan Morrison has gone missing, and wish for someone to come and investigate. Arriving by biplane, he begins to question the residents, but every single one of them claims to have never heard of Rowan, or state that she has never existed. While perusing, he notices that the townsfolk partake in quite a number of tactics and traditions that are eerily reminiscent of early paganism (which can look tantalizing to most modern day fans). Being a devout Christian, Howie is appalled, but continues his work regardless. As time goes by, he digs deeper, and discovers that while all seems blissful in Summerisle, there is a much darker past to the land and its people than he could have ever realized.


Some will view (recently deceased) writer/director Robin Hardy's debut film as purely an attack on purity in a world that is anything but, though one can debate that it also argues for some sort of religious control (or at the very least, a sense of what is right and what is wrong). In the end, I viewed it as really just the horrors of sheer ignorance, and that both sides of the coin are equally flawed in this case. Howie (played brilliantly by Edward Woodward) does seem to be a bit of an uptight snob, but when he turns his nose up at the sight of seeing children having toads stuck into their mouths in hopes that it will cure whatever ails them, one can't help but feel that some of his disgust is a bit warranted. On the other hand, the world of Summerisle feels like something out of a dream: nobody fights, everyone is merry or helpful, the children are rather polite, men & women cavort about naked & make love in public with no care in the world, and their leader (portrayed by Christopher Lee) comes across as the type of interesting man who you could just become lost in listening to for hours. These clashes do contribute to the very noticeable slow burn over the course of the movie (which will make or break it for impatient fans), but when the final third of The Wicker Man comes about, it is thoroughly captivating and something that is very difficult to forget. In some regards, it feels like a companion piece to Don't Look Now, which was another 1973 release that took its sweet time and finished with a stunning ending (here's where I cue the cheap plug for my review of it).


I am quite satisfied that I can conclude 2016's Unseen Terror with a mesmerizing mystery-horror hybrid like The Wicker Man. It certainly won't be for everyone, but for the lot of you who are only familiar with the unintentionally hilarious remake from 2006 (note: there are no killer bees in the original flick), I think that seeking this out would be a wise move to make. After all, if you have a subscription to Starz or a few dollars to spend on internet shopping services such as Amazon, then why not may I ask?



Besides, giving any sort of money to Nicholas Cage in this day and age is the equivalent of buying alcohol for a homeless person.




And.......we're done! Thank you for sticking around, and for your patience during these occasional gaps and lulls in quality. I would also like to thank any and every single person who followed along for this, including those who shared/liked/commented on any of these reviews on social media. Hell, even those who bothered to bat an eye towards a single entry are worthy of a can of coke. You guys and gals keep me sane, and I doubt that I will ever tire of doing this.



Well, unless I keep getting exposed to theatrical diarrhea like Up from the Depths. Or Dark Floors. Or Cruel Jaws. Or Varan the Unbelievable. Or Dreamcatcher.



.....maybe I need to plan this out more carefully next time.




Anyway, see you guys soon for DOCTOR STRANGE!

Unseen Terror 2014: Day 28

Young Marylee is mauled by a neighbor's dog, only to be saved by her large, gentle, and simple-minded friend Bubba. While she is taken to the hospital, a local courier named Otis rounds up a group of men, assuming that Bubba has harmed this little girl and potentially killed her. During their manhunt, the handicapped innocent runs to his mother's, and she disguises him as a scarecrow in her cornfield in order to evade punishment for something that he did not commit. Tragically, it fails to work, as Otis and his cohorts shoot him repeatedly. Shortly thereafter, Bubba's name is cleared, but the murderers get off in court, claiming self-defense. It isn't long, however, when the scarecrow that Bubba had been killed in starts to reappear around town.


Much like my experience with the original version of The Town That Dreaded Sundown, I was completely incorrect about my previous assumptions when it came to this 1981 made-for-TV horror flick. If one were to take a glance at the cover of its home video releases (since there is no theatrical poster that I know of), you would think that the film would be a supernatural-based slasher with a scarecrow at the center of all of the bloodshed. Much to my (pleasant) surprise, I was only partially correct. Dark Night Of The Scarecrow does indeed have elements of the aforementioned description, but it is a lot more well-rounded and doesn't need to rely on the cliches or mass carnage that befell most horror movies released in the 1980s.


Okay, so most of those cliches wouldn't have made the cut anyway, since this had its premiere on CBS Television. To my knowledge, there were plans to make this into an independent feature film, but for various reasons, it seems as if its low budget and semi-old school feel was deemed appropriate enough for home viewers instead. There was also the plan to cast veteran actor Strother Martin (last seen on this countdown in Sssssss) as main antagonist Otis Hazelrig, but he passed away before the production was getting ready to start. This proves to be anything but a problem since fellow experienced actor Charles Durning (The Sting, Dog Day Afternoon) turns in a delightfully sketchy and slimy performance as the postal worker who helps murder a childlike grownup. Oh goodness did I get chuckle when he tells young Marylee that "you can trust the mailman." No matter which decade in which something like this is uttered, you can't help but laugh. Truth be told, save for a few random moments from some of the supporting cast, nobody is really doing a bad job acting-wise. They don't treat Dark Night Of The Scarecrow as a standard throwaway picture, but rather as a creepy, if not simplistic tale of revenge.


Speaking of the very basic, but effective elements discussed above, writer J.D. Feigelson creates a script that utilizes minimalism and the tactic of confusion when it comes to the kills (save for Bubba's death). There are very few shots of the monstrosity that stalks these men, and sometimes, we don't even see its own shadow when it does its dirty deeds. I'll bite and say that as entertaining as its performers are, specifically Durning and Lane Smith (The Mighty Ducks), they aren't the most complex or original creations you'll see. Maybe it was just me, but Scarecrow also does seem to boast an unintentional anti-southerner vibe, at least judging by the absolute cruelty and apathy of some of the townsfolk when it comes to the manhunt for Bubba and its slightly-infuriating aftermath. But again, that might have been something that I assumed I had seen, and nobody else did.


I have to wonder what could have been had Dark Night Of The Scarecrow been given a theatrical release or bigger budget. Don't get me wrong, there isn't a single thing that I would change about the final product, but perhaps a longer, slightly bloodier remake couldn't hurt? Either way, if you want to take a look at how to do an exceptional job in the horror field with little-to-no money at your disposal, and see where other underrated gems like Pumpkinhead got its inspiration from, then look no further. And if none of that convinces you, then be aware that a brief part of the picture takes place on Halloween night, upping the entertainment factor!



But oy, it sure is difficult to watch anything with grown men playing mentally challenged individuals after THIS was released six years ago.



Tomorrow, it's back to the past, with a sequel to a surprisingly good entry from last year, House 2!

Thor: The Dark World (2013) Review

Time has passed since the battle of New York, and along with his fellow warriors and comrades, Thor of Asgard is at work across the nine realms, having fought a two-year war in order to try and preserve peace. On Earth, scientist and old flame Jane Foster comes into contact with the Norse God, but not after a strange exposure to something affiliated with an enemy that predates and overpowers even Odin himself. Soon, the God of Thunder realizes that he may need to make the ultimate sacrifice in order to protect the realms from grave danger, and even forge an uneasy alliance with an old foe if need be.


It does confuse me quite a bit as to how and why 2011's Thor seemed to divide as many people as it did. Perhaps it was the very odd and somewhat unconventional feel the character had compared to his more popular Marvel Comics companions, such as Iron Man and the Hulk, or the fact that Norse and Viking Mythology has never been as popular with mainstream audiences as it could potentially be. Perhaps it was the fact that it might not have been stuffed with as many fight scenes as viewers would have liked. Whatever the case, I was quite a fan, and I was very enthusiastic to welcome a chance to see a followup two years later in the form of Thor: The Dark World. I've also been one of the select few who apparently doesn't do copious amounts of drugs and has thoroughly enjoyed the second phase of Marvel Studios' motion pictures, which are all inevitably leading up to The Avengers: Age of Ultron.


One of the few complaints I had about the original Thor was actually the one thing people recall fondly: its enormous cast. As much as I loved most of everyone involved, the presence of certain individuals felt more like an excuse for then-director Kenneth Branagh to show off to his friends (lord knows I'd probably brag at least once about getting to direct Sir Anthony Hopkins myself), and a decent portion of these folks ended up with almost nothing to do. This is rectified by newer director Alan Taylor, known mostly for his work on Game of Thrones and The Sopranos, so he's clearly used to dealing with casts of a considerable size. With this decision, everyone gets at least one or two good chances to shine in Thor: The Dark World. Yes, that does include Tadanobu Asano (Ichi The Killer), Kat Dennings (Two Broke Girls), and even Rene Russo (Get Shorty), who I thought was completed wasted in the first film. As for the newer additions to the cast, well, when you're forced to deal with the old "enemy of my enemy" situation, you have to remember to flesh that newer enemy out after all. Alas, Malekith is no Loki, but by no means is he a completely terrible villain. He just ends up more in the run-of-the-mill category, with nothing more to offer than a few quips here and there, and a costume that I'm sure will be popular at the next big comic book and entertainment convention nearest you. Still, he won't exactly wow audiences unfamiliar with his comic book background and origin.


I don't need to waste your time by telling you that the old cast is obviously good either, but knowing that one day Tom Hiddleston is either going to resign or just stop returning calls to play Loki completely breaks my heart. The man was born to play this character, and just seems to play him better and better every time around, adding a new layer that we hadn't seen before, or thought was unbecoming of the God of Mischief. Perhaps the only disappointment in the "old guard" was Stellan Skarsgard's Dr. Erik Selvig, who could have honestly been written out of the film entirely, and has been reduced to kooky comic relief, with occasional flashes of his original genius still intact. As to why his moments of importance couldn't have gone to Kat Dennings' Darcy Lewis? Well, I guess you can't have enough comic relief in one film, can you? Perhaps there can only be room for one smart woman in a picture by Marvel's standards too, and Portman has a bigger resume in the end. Oh well.


Now, before you think that I'm savaging this picture out of pure disappointment, I can assure you that I did actually really enjoy the film overall, and didn't regret spending my money whatsoever. Wait, don't click the "X" just yet! Let me get on to something else that I genuinely liked, and that was the action sequences. While Malekith is no Loki, his Dark Elves and their army bring a science fiction/fantasy crossover appeal to these sequences that, while completely unexpected, makes for one heck of a visual feast. More uptight fans might scoff at this melding of several different ideas (starships in Asgard for one), but I may have to remind you that you're watching a movie based off of a comic book universe (and forgiveness for the minor spoiler, but there are no other Avengers in this picture….technically. This is called Thor: The Dark World, not Thor & Friends). The final fight sequence in Thor: The Dark World takes place in London, and with the abuse of teleportation between the nine realms and heavy blow upon heavy blow, it might make even Dragon Ball creator Akira Toriyama himself ask "Why didn't I think of something like that?".


Though I may have spoiled my own final thoughts above, I still did have a blast with Thor: The Dark World. I can see some more stingy audiences whose expectations have been raised by the quality of certain Marvel Studios pictures being disappointed, but it does seem inevitable these days considering how even traces of the geek ideology and mindset has inserted itself into all of us one way or another. *sigh* If only this barrage of new comic projects and films was present during my high school years. Then, we could have seen an even greater number of franchises rise to prominence and be turned into movie franchises (*coughPreachercough). Perhaps we can still hope. Or at least pester the creators. But anyway, long story short, the movie is fun. Go check it out.

Unseen Terror 2012: Day 22

In a small area in Providence, Rhode Island, a young girl named Sally has been sent by her mother to stay with her father and his new girlfriend in their newly restored home. Initially depressed, and thoroughly unsatisfied, Sally despises her new home, but things start to get interesting when she wanders and discovers a sealed fireplace in the skylight of the manor's basement. She begins to hear multiple voices coming from not just the fireplace, but from various areas of the manor, and they all seem to be calling for her...


I've never seen the original Don't Be Afraid of the Dark, but outside of some role reversals, I've heard this doesn't deviate too much from the original source material. I'm admittedly going to have to track that film down now, just to see exactly how much was changed, and to see if it has the same faults and/or strengths as this film had.

For strengths, praise should go to actress Bailee Madison, who plays our young hero Sally pretty well. Come to think of it, everyone else around her was pretty mediocre. Katie Holmes seemed to be miscast in the role as the kind girlfriend of her father, and Guy Pearce just sounded disinterested throughout the entire film. Admittedly, it is a little difficult at first to even care about Sally, who just appears to be grumpy and frumpy for the first third of the movie (though I can't say I blamed her given some circumstances). The creatures themselves are also pretty scary-looking for the most part, though I'm sure they would have left a more lasting impact had they not been CGI. There is a particularly good jump scare involving them invading Sally's room.

Speaking of the creatures, yes, they're designed rather well. Yes, they're scary. But writer/producer Guillermo Del Toro, who I do rather enjoy, has already worked with the old legend of the "Tooth Fairies" before with Hellboy 2. Again, I know this is a remake, but it felt like he was recycling ideas with the decision to include them as the primary monsters. The film also boasts a running time of ninety nine minutes, and you do feel like a decent amount may have been left on the cutting room floor or was edited out of the script. Exactly what, I can't quite explain as of this writing, but I can almost guarantee that you'll feel the same way.

Underneath its occasional lapse into honest-to-god good creepiness and the somewhat formulaic "ancient evil reawakened" plot that we've seen countless times before (which preceded even the original), this is in essence a haunted house movie mixed with a fairy tale. That actually might be why I can say I enjoyed it. If you have some younger kids who don't mind an occasional scene of violence (I'm shocked this received an "R" rating considering there isn't any swearing or nudity), this could be a nice scary movie to watch with them one night. If you're uncertain about it though, just stick with an 80s or early 90s classic instead, and save this for a later date.


Tomorrow, we're going for a double dose of creature features, with BLOOD SURF and SHARK NIGHT.