Horror shorts are a wonderful thing. No, I’m not talking about those awesome under-roos with Freddy Krueger’s face on the crotch (although using the front hole to give him a weird “tongue” is massive fun); I’m talking about the often beautiful and terrifying short films that are floating around in our beloved genre. What makes these films so special is that a filmmaker is hard pressed to fit in the logic, emotional depth, and (most importantly) chill inducing terror known so well from feature length films into a tiny package of around twenty minutes or less. The time limit alone can either make or break the entire effectiveness of a horror short, which is why they’re so delightful when they manage their time well and so disappointing when they don’t. Making a horror short is by no means an easy task and by far a very unforgiving one if the effect isn’t delivered properly.

Writer/director Randal Plunkett’s (Lord Dunsany) latest short film, Out There, comes in at only 15 minutes and 22 seconds. The film’s story weaves an intricate web of confusion and discovery surrounding its protagonist, Robert (Conor Marren). Robert wakes up in a lonely forest with a flowing wound on his forehead and no recollection of how he got there. To make matters worse, the village he eventually wanders into seems to be completely deserted and left in shambles...I think you know where this is headed. It’s a premise we all know and love from many full length films; but with the duration of little more than a commercial break, does it manage to deliver?

There’s a lot to like about this horror short. Plunkett has crafted a script that fleshes out just enough to provide heapings of intrigue, dashes of clarity, and a wonderfully horrifying ending. There are many horror tropes present in the film that may come across as somewhat cliché initially, but actually serve the film well. When you have a limited time to inject fear and mystery into your audience it’s best to stick with familiar tropes and get those red flags waving. And wave, they do. The moment Robert enters the dilapidated Irish village with seemingly no signs of activity other than an increasingly loud power generator, tiny warning bells will be going off in the viewer’s head. We’ve seen this before and it didn’t end well…certainly it won’t now either. The film is full of these moments. However, some are more effective than others. For instance, the previously mentioned generator left a nice bitter taste in my mouth. I immediately expected doom to show up around every corner for as long as that sound kept ransacking the scene. It was a really nice touch to open the madness with. Unfortunately, there’s a similar moment that in general is fairly creepy but ultimately left me more bewildered than tense. Somewhere nearing the midpoint of the film, Robert happens upon a small cottage of sorts. The rooms are scrawled with bloody messages and what appears to be some Satanic imagery. Spooky stuff to be sure (at least Robert thinks so), but in the context of the rest of the 15 minute film this bit is left rather unexplained and comes across more as a creepy device than a terrifying accent to the rest of the piece. That moment aside, the rest of the playful visual cues and tropes used throughout the film had me smiling and waiting for the next bit in anticipation.

As I said before, in order to deliver a really good horror story in a short amount of time, you have to jam pack it a bit. Which is exactly what Plunkett did with Out There. This is by no means a complaint, either. Somehow Plunkett drafted a script that manages to not only lead you with Robert’s shambling confusion throughout the small Irish town, but also toss you clues about how he got there and what he was doing. How did he do this? With another beloved trope, the ever useful flashback. It’s through these well timed flashbacks that we get a glimpse into the events prior to Robert waking up in the empty forest. These segments are where we get to know Robert’s troubled girlfriend, Jane, who is played by rising Irish starlet, Emma Eliza Regan. Without spoiling the details of these flashbacks, I will say that I found myself a slight bit confused regarding Jane. It seemed to me that Regan’s performance was on the subdued side and it was unclear if this was strictly due to her performance or if the character of Jane was meant to be that way. Both interpretations are plausible, but neither is clearly the answer (without asking, of course). On the one hand Regan’s performance possessed a sort of haunting quality to it as if the character of Jane was deeply troubled by something she did not wish to speak of. On the other hand, there isn’t much mentioned or shown in the film to explain this personality. There’s no mention of depression, secrets, etc. Perhaps this is due to the time limitation, or perhaps it’s due to something else. In any case, I didn’t find myself dwelling too much on the issue and could still enjoy the flashback segments for the purpose they served. The segments provided a clear outline of the events leading up to Robert waking in the forest, and when you have all the pieces to the puzzle you are left with an appropriately disturbing image.

All in all I rather enjoyed Out There. You can sense the filmmaker’s passion for the genre throughout and the film’s narrative has a rather sympathetic protagonist to keep things going. This is always refreshing in the current sea of unsympathetic leading roles in the horror genre. Having a confused and sympathetic guy leading you through a maze of confusion and terror helps you put yourself in the poor guy’s shoes…which eventually becomes a nightmarish thought. However, due to some of the issues mentioned (unexplained bloody symbols, unexplained depression in Jane) perhaps giving this film the full length treatment would be a good thing. It seems as if Plunkett’s ideas somewhat transcend the time limit allotted. The main plot of the film serves well for such a short, but the tiny details could benefit from some further explanation. That said, Plunkett still managed to fill up a relatively short amount of time with a fairly rich story that didn’t feel rushed or heavy-handed. Likewise, the familiar tropes sprinkled with an Irish twinge made for a surprisingly fresh experience in an otherwise known tale.

I’m a sucker for a good horror short, and I honestly thought that Out There was exactly that: a good horror short. There could still be a bit of refinement here and there concerning particular plot elements and performance delivery, but the film’s story is A-grade. I’d also like to quickly point out the rather pleasant camera work in this film. For a short film this one had some rather impressive camera angles and lighting choices. With the feel of a feature-length indie film, Out There serves its purpose well and is certainly a little film for horror fans out there to really sink their teeth into.

Tags: Blood , British horror, Drama , gore , haunting horror films, Horror , horror genre, independent films, indie horror, short horror films, zombie films, zombie movies, 15mins, Chandler Bullock, Conor Marren, Emma Eliza Regan, Horror shorts, Horror-Fix Review, Irish Horror, Lord Dunsany, Randal Plunkett

To be perfectly frank, most of my favorite childhood memories somehow involved horror films. I used to collect Todd McFarlane's Movie Maniacs action figures and a buddy of mine and I would use them to stage elaborate battles. Freddy Vs. Jason, Jason Vs. Wishmaster, WISHMASTER VS. PINHEAD would have been so sweet! But I digress...

I mention this because while watching “Cabin In The Woods”, The new horror comedy from Joss Whedon (Buffy, The Avengers) and Drew Goddard (Cloverfield), I felt like I was 12 years old again: placing bets on not just how these insipid but attractive teenagers would die, but how and by whom. Waiting for the obligatory tit shot thrown in simply because being 12 years old in the 90's, that was as close as you could get to soft-core porn. Laughing your ass off when your friend next to you jumps but you don't. These are the things true horror fans live for. And “Cabin” delivers.

I do truly think that it is impossible to avoid spoilers reviewing this film, but I will try. After the first scene in which you might question whether you are watching the right movie, we are introduced to our typical slasher movie fodder kids played by Kristen Connolly, Chris Hemsworth (of Thor fame. thankfully with shorter hair), Anna Hutchison, Fran Kranz, and Jesse Williams. Each of them seem normal at first but after a while start to embody the characteristics of the virgin, the whore, the jock, the fool, and the nerd respectively. But why? Figuring that out is one of the films many humorous surprises. They are heading for GASP, a cabin in the woods. But not before stopping and receiving an ominous warning from GASP, an eerie gas station attendant. Feel like you know where this is going? If so, I pity you.

To reveal too much more of the plot would serve to spoil what is arguably the best genre film in recent years. Without saying too much, the film is full of entertaining surprises and scares with tongue placed firmly in cheek. Scenes such as a gleeful homage to the “Ju-on” films of Takashi Shimizu, Hutchison making out with a stuffed wolf, Hemsworth clothes-lining a little girl zombie and then later pulling off what I can only describe as a motorcycle jump that would have Evel Knievel pissing his pants with laughter serve to entertain those with a vast knowledge of horror movie trappings and cliches. That isn't to say that people who are new to the genre will be put off. But, like most horror films, you will need a strong stomach to endure the relentless orgy of gore towards the end of the film which will cause multiple gore-gasms among slasher movie fans.

Whedon and Goddard know their stuff. This is a near perfect love letter to horror films of old and a wonderful satire of torture porn and zombie films. The supporting cast which features such genre veterans as Richard Jenkins (Let Me In), Jodelle Ferland (Silent Hill, Case 39) and even Sigourney Weaver in a neat cameo. If you love the genre, you can't afford to miss it. If you are new to horror, you can't afford to miss it. It is that simple. And yes, I know what you're thinking: “But when will they ever have a slasher movie with a Mer-man?”. Don't worry... Whedon and Goddard have you covered.

Onto the DVD features: We get a full length commentary with Whedon and Goddard in which they discuss such feats as writing the script together over the course of only three days and having to share a few of the sets simultaneously with the filming of the “Twilight” films (Which also feature Ferland). They truly love what they do and their enthusiasm more than makes up for the somewhat one-note tone. Unfortunately all they are doing after a while is congratulating each-other to the point of subtle arrogance.

Also we are treated to four behind the scenes featurettes. “We Are Not Who We Are: Making The Cabin In The Woods.” focuses on the writing and casting of the film with fun little comments by the cast and crew, Particularly Jenkins and Bradley Whitford. “An Army Of Nightmares: Make-up and Animatronic Effects” centers on the monster-making and flipping awesome zombie make-up designs featured in the film, mostly in the third act. “Primal Terror: Visual Effects” is (you guessed it) about the various CG tricks and digital effects although fan will appreciate the emphasis on practical effects over digital effects. “The Secret Secret Stash” is my favorite, in which Joss Whedon gives us a tour through the cabin and Fran Kranz teaches us the finer points of smoking fake pot through a coffee thermos bong. Also a recording of the Wonder-con Q&A session with Joss Whedon and Drew Goddard. Also a Theatrical Trailer for the film, which is pretty standard for a Lionsgate release. All in all a fully stocked DVD for a truly inventive and absolutely hilarious film. Don't rent it. Buy it.

Tags: Drew Goddard, horror-comedy, Joss Whedon, Sigourney Weaver, Chris Hemsworth, Horror-Fix Review, The Cabin in the Woods

I’ll be honest. I completely missed out when Ti West hit the horror scene in the face with a hammer with his debut feature, The House of the Devil (2009), and I still haven’t gotten around to checking out that little gem for myself. However, Mr. West’s reputation was enough to peak my interest when I got around to picking up his latest full feature, The Innkeepers. And boy am I glad I did!

Our very own Ash Hamilton recently dropped a review for V/H/S (2012), which featured a chilling segment written and directed by West. Now, while West showed some pretty impressive chops in the found footage anthology, The Innkeepers is where his writing and directing skills get to shine like golden, blood-splattered gods. That may have been an exaggeration…or maybe not. Let’s see!

As I often like to do with a review, I’ll start us off with a very quick round up of the film’s main plot. Claire (Sara Paxton) and Luke (Pat Healy) are two unfortunate innkeepers at the Yankee Pedlar Inn. The two are given the task of running the place during its final weekend of productivity while the owner enjoys some fun and sun in the Caribbean. Since neither of the two live near the inn, and with the owner away, they are forced to stay at the inn with one or two guests they manage to acquire over the weekend. Claire is an enthusiastic young woman with a quirky chip on her shoulder, while Luke is a more down-to-Earth internet geek. Taking advantage of the peace and quiet of the inn’s final weekend, Claire and Luke take it upon themselves to find proof of the fabled ghosts of Madeline O’Malley (Brenda Cooney)—a young woman rumored to have committed suicide in the inn during the Civil War. At first the two are unable to find any conclusive evidence, until Claire digs deep and potentially stirs things up that may have been better off remaining dormant. Did Claire really unleash the ghost of Madeline O’Malley, or is her imagination getting the better of her and those around her? The answer is just as puzzling as the question.

That was a very basic gist of the events that transpire throughout The Innkeepers. There’s so much more to discuss—such as the aged actress-turned-medium, Leanne Rease-Jones (Kelly McGillis) and the heart-wrenching story of the Old Man (George Riddle)—, but this film is truly Claire’s show. Sara Paxton’s performance is both endearing and unnerving all the way through. Paxton’s portrayal of the quirky and enthusiastic Claire is so over-the-top that she instills the viewer with this feeling of bubbly warmth. Despite all of her personality flaws, it’s just impossible to dislike Claire. This makes the sinister third act of the film all the more chilling as you are urged to root for Claire to escape the clutches of the disturbed spirits slowly closing in on her. Pat Healy’s portrayal of good-guy-geek, Luke is equally well crafted, but there still lacks a sense of innocence possessed by Claire to make him truly likeable. Now don’t get me wrong, this is exactly how it should be. Luke is a straight up asshole at the best of times, and he proves to be an increasing source of insecurity for Claire. The combination works perfectly. Luke fuels the fire in Claire that makes her so loveable for the audience. Writer/director Ti West did a phenomenal job setting up the film’s two protagonists during the first act. To say that The Innkeepers is a slow burn would not even touch the pacing of the film’s first two acts. Although it takes what seems like ages before the film’s climactic payoff, it’s a well thought out decision by West to do so. Due to the length at which the characters are set up and developed throughout the film’s duration, the final payoff is that much more powerful.

This brings us to that wonderful payoff I keep mentioning. All of you creepy ghosts fans out there, fret not, there be creepy ass ghosts in this film. I understand that creepy ass ghosts alone don’t really make for a great film. So what’s the payoff all about? Well, West’s super slow burn for the first two acts of the film’s three act presentation manages to cause a rather unexpected amount of dread and turmoil by the climax. The first two-thirds of the film are not only rather uneventful; they also don’t feel much like a horror film. While sitting back and enjoying the clumsy banter between Luke and Claire it’s quite easy to forget that you’re not watching a cooky ghost-comedy. Thankfully the third act takes it upon itself to remind you with a boot to the face. Not only is the third act of this film quickly paced, but it’s also downright dark. The imagery alone is a completely unexpected presence amidst the film’s almost comical tone. That’s where the payoff lies, though. West has managed to craft a film that manages to disarm the viewer in such a way that the bleak reality of the situation is all the more unsettling. Helping along this dark twist are Claire and Luke, who stay true to character throughout the sinister events that take place. You’ll find yourself yelling at the screen for the two loveable dorks to get the hell out of there and never look back. However, their characters are set up so well that any stupid decision they make has already been established as logical for them, which makes it all the more frustrating when they cause themselves to be stuck in some mighty precarious situations (literally).

Ok, so the The Innkeepers is intense and well written, but how does it look? Surprisingly nice, actually. The visual clarity throughout the film is rather pristine, yet a bit “off” at the same time. This creates a rather unique visual tone for the film that compliments the world and characters that have been established in the film’s world. Claire can be overbearingly silly at times, but it’s ok due to the camera’s insistence that such behavior just belongs in the world presented to the viewer. Now, as I said before, I have no idea how The House of the Devil played out or looked, but I can only hope that the visuals, writing, and performances complimented one another as well as West managed to accomplish with The Innkeepers. Part of the film’s misleading tone is directly linked to the visual presentation of the world surrounding the Yankee Pedlar Inn. When things take a turn for the dark, the camera provides accordingly. The black levels of this film are as thick as oil and suffocate the image at times. And I mean that in the best way possible. You only see what West wants you to see, and trust me…you see exactly everything you want to see. That said, the makeup and effects work in this film are just as well crafted as the camera work. I am thoroughly convinced that if it weren’t for the superb ghost make up and design present here, the film’s payoff would not have been near as unsettling as it was. The Innkeepers has some of the best ghost make up I’ve seen in a long long time.

That leaves with the last remaining element of what makes The Innkeepers pack such a punch: the sound design. Sound is an easily overlooked aspect of a good horror film. If done well, the sound design and score of a film can meld so seamlessly with the visual presentation that it’s often forgotten. If done badly you’re left with an overbearing and dramatic music score that seems to have a life of its own. Thankfully, The Innkeepers falls into the former category. The sound design in this film is a rare gem as it acts as the “burn” of the slow burn. Every time Claire picks up a pair of headphones and a microphone, the viewer is bombarded with a deeply droning bass that represents her expectations and fear perfectly. There were moments I had to actually turn the volume down just to double check that the bass I was hearing was really coming from my speakers. The deep rumbling of the bass complimented the bright and vibrant visuals so well. Furthermore, the film plays with subtlety very well. During the first two acts the sound design maintains a sort of subdued, yet bubbling sense of “the possible”. Whereas the high octane third act unleashes a slew of blasts and whipping music score that confirms all of your worst fears. When things get dark, the film’s score tags right along and blasts you away where appropriate while staying silent where it’s most uncomfortable. Without spoiling anything, perhaps the film’s most intense scare develops through the use of well-timed silences. This is A+ sound design on display.

So with all of that in mind, what’s the general consensus? To put it simply, if you haven’t checked out The Innkeepers, you’ve done yourself a great disservice. Emerging in a sea of reboots, rehashes, and Horror-101 formulaic cash-cow films, Ti West has crafted a truly original take on the haunted house genre. Not only has he managed to write an original story in a vast amount of adaptations, West has also managed to present a truly original take on an already beloved genre in the world of horror. Do yourself a favor and get a breath of fresh and bloody air. Go check out The Innkeepers as soon as you can!

Tags: 2011 , haunted house movies, haunting horror films, indie horror, Thriller, 2011 , Chandler Bullock, Horror-Fix Review, Kelly McGillis, Pat Healy, R, Review, Sara Paxton, The Innkeepers, Thriller, Ti West

DNA points are used to upgrade your newborn killer. Players can choose to mutate their disease to add new symptoms like vomiting, fever or hysteria. These "points" can also be used to increase the defense against a cure or advance the avenues of transmission. You will never directly control the disease but more or less use these options to help steer your virus to the ultimate goal of human extinction.

Tags: Apple, Epidemic, Horror-Fix Review, iOS, iPad, iPod, Mobile gaming, Plague Inc, Video game, Virus Simulator