Wednesday, October 15, 2014

WEREWOLF RISING: A Shaggy Dog Of A Werewolf Film



It's difficult, if not impossible, to pull of use of one of the “classic” monsters of horror. When one s surrounded by real world horror in the wake of religious extremists, potential plague outbreaks or the simple reality that through no fault of our own, our generation is simply fucked and faced with crippling financial and environmental woes, the idea of a monster sprung to life after receiving 10,000 volts of electricity in the neck or one that turns into a beast under the right moon conditions seems silly and trite. The best films that still rely on these tropes use the monster as an allegory for blue collar problems, rather than a literal beast to be feared.

One problem among the many with Werewolf Rising is it very much wants to be a straightforward werewolf thrill ride, but it just isn't anywhere close to being up to the task. It's low rent and cuts corners every step of the way, from the sparse locations, to the subpar acting, to a dialogue heavy script that does not trust its audience's ability to pick up on very simply and specific character traits to astonishingly mediocre FX. Everything about Werewolf Rising feels slap dash and amateurish.

You can see where Rising takes cues from The Howling with its survivor girl heading back to nature in order to escape both the grind of the big city and the trauma of her past. Melissa Carnell steps into the Dee Wallace role as Emma, a young woman attempting to remain sober by moving back to her childhood home in the Arizona backwoods. Just before she makes her move, a pair of convicts escape from the local prison. One of them, played by Bill Oberst Jr, is a werewolf. Emma meets the other and winds up falling in love with him despite spending all of five minutes with him and discovering he's lied about his past, covering up that he's a wanted felon. The man's name is Johnny Lee, a fact drummed into our heads by Emma repeating it every other line.

However, The Howling brimmed with outstanding performances, jaw dropping special FX and biting commentary on repressed sexuality. Werewolf Rising lacks all three of these things, making it a slog to sit through. I have no idea what Oberst is trying to do in this movie, and judging by his upcoming schedule, you have to wonder if he ever reads a script or if he is desperate to pay off loan sharks before they break his thumbs. Between the uninspired dialog and dodgy decision making the script does Carnell no favors either.


Even a mediocre werewolf movie can be saved by killer wolf transformation scenes. Here lies another problem with Werewolf Rising: The complete lack of any time or FX given to shifting from man to beast. Don't tell me that you lack the budget to pull off at least one extended sequence when B-movie camp fare like Wolfcop is filled with terrific practical driven sequences that add a ton to what would be an otherwise easy to dismiss film. In Werewolf Rising, an afflicted character falls to his knees, the camera pans away, and when it returns there's a man in an eight foot tall rubber and fake fur suit on screen. 

Saturday, October 11, 2014

Telluride Horror Show: THE MIRROR reflects a lack of new blood in haunted mirror films


The Mirror (dir. Edward Boase)

Ebay can be a source of just about anything these days. In the British found footage film THE MIRROR, three optimistic twenty-somethings hope that the allegedly haunted mirror they bought through the online auctioneer is their ticket to winning a million dollar prize for evidence of paranormal activity. 

Matt, Jemma, and Steve purchase the mirror, a significant amount of camera equipment, and hermit away in their shared flat waiting for the “ghosties” to arrive. Through daily video diaries we learn more about their relationships, and their personal histories with ghosts and the unexplainable. Matt seems to have a little more of a history with paranormal forces than the others, and in turn seems to be the friend most affected by the mirror. 

Shown entirely through the cameras that this trio operates THE MIRROR does a solid job of showing that found footage films can still claim a place in the horror landscape. They each have a vested interest in keeping the cameras rolling, but are smart about when they flee from them. 

One thing that THE MIRROR is lacking, however, is originality. Haunted mirrors are well worn territory in horror film (notably, the recent Mike Flanagan film OCULUS).There certainly is room for more films to contribute to the field, but only if they are bringing something new to the table. THE MIRROR is predictable and fails to add new scares to old ideas. 

The major strengths of the film are the performances by the three young actors.  Each of them is quite natural and believable. They come across as three dimensional people with lives outside the confines of this experiment. 
 
There are some good jump scares, and some adequate gore effects, but in the end THE MIRROR is just a reliable example of a found footage haunting film. When the film’s poster gives away the big surprise ending, and the film can be succinctly summarized as “BLAIR WITCH in a flat” it is difficult to champion THE MIRROR’s merits. 


Friday, October 10, 2014

An Interview With REANIMATOR THE MUSICAL'S Dr. Herbert West Graham Skipper


GRAHAM SKIPPER as Dr. West

Stepping into the role of Dr. Herbert West is no easy task. Graham Skipper (Almost Human) has returned to the role for this month's revival of RE-ANIMATOR THE MUSICAL playing weekends at the Steve Allen Theater on Hollywood Boulevard.

We recently chatted with Skipper to discuss how one makes a horror icon his own, what it's like to sit in the production's splatter zone, how horror fans help bring a communal experience to the play and how many people his Almost Human co-star has killed with just his bare hands.

Tell me what drew you into the project RE-ANIMATOR THE MUSICAL?
Well, a few things. I grew up a huge horror fan and fan of the film and Stuart Gordon's work in general. How I got involved in the project, was when I lived in New York I was one of the founding members of a comedy troupe called FUCT and through the the sketch comedy world I became friends with George Lynch who was a friend of Stuarts and was attached to the original musical. So when they were looking to recast Dr. Herbert West George thought of me, they had me come out and audition and I won the role.

When you step into a role like Dr. Herbert West who was made so iconic by Jeffrey Combs, do you avoid the original performance or do you go back and study it? How do you make it your own without just mimicking what we've seen before?

I struggled with that, especially knowing the film so well before the rehearsal process. My philosophy was I wanted to make it my own and approach West from the inside out. I wanted to first go in and analyze the script as I would any other. I wanted to look at his objectives and motivations and what West was after and start building my character. Once I had a grip on what I wanted to do with West I went back to the film and worked with Stuart and the other cast members to find through the specific moments that are so beloved that we wanted to carry over. Things like “Don't expect it to tango, it has a broken back” and little moments that as fans of the film we wanted to honor. I wanted to make it my own and not just do a Jeffrey Combs impersonation. It's impossible to top Jeffrey's performance so it was about creating my own Herbert West. Certainly having Stuart Gordon there to guide me helped tremendously.

How much does it help when you have someone like Gordon help you, especially given that this project is his baby from film to stage?

Oh a ton. They don't call him a master of horror for nothing. He knows his stuff and this is a project that stretches back to the beginning of his film career. He cares deeply about it and knows better than anyone what is going on in each character's heads. He knows each moment and what to do to maximize the horror and the fun and that's what makes the movie and the live show so special. It's the marriage of horror and pure fun.


Let's talk about some of the more fun aspects of the stage play. What jumped out to me is the splatter zone. Can you tell someone sitting in those first few rows both what they should expect and what they should wear?

You're going to get drenched. We don't hold back. In fact, our motto for the revival is “More Blood.” We have definitely upped the blood quotient of the show. We offer ponchos to people who sit in the first few rows, but I gotta tell you that my experience in doing these shows off and on for two years is that people love coming in costume or dressed in white and they love getting soaked in blood. It's super fun and definitely my favorite aspect of the show. We love getting to unleash on the audience and the crowd loves it. It's such a fun time and it's a unique experience when going to the theater to come out of it soaked and covered from head to toe in red.

So it's like going to see Gallagher except with more corn syrup and less right wing diatribes?

Exactly! We make sure the blood concoction can be washed out. I know of one lady who comes in a white lab coat that she has never washed, and she's seen the show dozens of time and she wears it every single time. We signed it after one of the shows. It's such a blast. Horror fans are the coolest people and it's super fun to collectively share in the joy of horror in a personal and specific way.

That story about the woman in the lab coat reminds me of the Sir Alec Guinness story where he was doing a Star Wars Q&A a boy told him he's seen Star Wars something like 75 times he told him he needs to stop and immediately do something else. Do you ever worry that this might be the only thing she has to wear?

Oh no, not at all! We have fans that have seen the show dozens of times, and I know one lady has seen it at least 75 times. I liken it to people who go every week to the Rocky Horror midnight screenings or who go to church once a week. People have their rituals they love and I'm lucky enough to be part of a ritual people love so much.

Let's say you're a non horror fan, you don't want to get splattered, but you enjoy a good night at the theater? How do you tell people to pitch seeing the play with their non-horror loving boyfriend, girlfriend or spouse?

It's just a good story. Stuart's philosophy is tell the story, tell it honestly, and everything else will follow. The great thing about the show is along with being along the genre persuasion it is ultimately a love triangle between Dan, Meg and West. He is torn between his scientific and ambitious medical mind and the love of his life. Anyone can relate to it, and the songs are catchy. The horror stuff is just fun and different. I tell people even if you're not a fan of horror, you'll see a unique spectacle you won't see anywhere else with great characters that goes off in total insane and extreme places. This is not Oklahoma! it's a beast all on its own. If you want something different, fun and exciting, Re-Animator The Musical is all of that.

For folks who are no where near LA is there any chance of touring with the show again or recording it for a DVD or digital release?

I'm not totally sure of that. We've taken it to NY and Edinburgh Fringe Fest. Travel is a possibility but we'll see what the future holds?

Looking through your IMDB it seems like you have a number of intriguing projects in the works? Is there anything in particular coming out that you're excited for?

Dementia is a great script and a really cool project. I'm working with Joe Begos on another project and I'm hoping sometime soon we'll have more information on that. Stay tuned!

Not his own blood. 
Last question. With regards to Josh Ethier, where would put the number of people he has killed with his bare hands for fun? Is the number over or under five?

For as burly and frightening a man as he is, he is really a Teddy Bear. It's definitely not zero. I'd say we're looking two or three, maybe four range depending on whether or not he's in Texas. You put that man in Texas and the Beast gets unleashed. It's not pretty.

For tickets and more information check out the REANIMATOR THE MUSICAL official site.








Limited Edition Artwork Unveiled for Somerville Theater's NEVERMORE Performance This Halloween

As part of a gala celebration for the master of the macabre Edgar Allen Poe, fans  (OK, paying customers) will be treated to a special, one time presentation of Stuart Gordon's  award winning stage play NEVERMORE. The play stars genre icon Jeffrey Combs stepping into the role of Poe. Combs is best know for his role as Dr. Herbert West in Gordon's The Re-Animator but also has years of stage experience. 

As you can see from the attached photo, the show's producer Izzy Lee and Nihl Noctem Productions have commissioned award winning art studio Phantom City Creative to render Combs likeness as Poe. These 18" x 24" prints are now available for pre-order ($50 for pickup or $65 shipped). These prints are limited to 100 and will be personally signed by Combs. 

Boston area fans have the additional option of getting their prints signed by the creative team at one of two special locations:

  • Comicazi, at 407 Highland Ave, Somerville, MA on October 30, 2014, from 12-1pm. Legendary artist Graham Humphreys will be signing posters from 12-2pm.
  • Scarlet Letter Press and Gallery, at 102 Wharf St., Salem MA, on the evening of October 29, 2014, from 6-8pm . Graham Humphreys will be also signing posters 


About “Nevermore: An Evening With Edgar Allan Poe”
Written by Denis Paoli, known as author of the Re-Animator screenplay and the Masters of Horror episode The Black Cat, also starring Combs as Poe, the special Halloween night rendition of “Nevermore” will be its first and only New England performance. Previously directed by Stuart Gordon (Re-AnimatorFrom BeyondDagon, Stuck) in cities including Los Angeles, Montreal, Austin, and New York, Boston’s performance is being produced by Lee for the historic Somerville Theater in Davis Square on October 31 at 8:00 pm. The play is set in 1848—one year after the death of Poe’s wife and muse Virginia, and two years before his own death—and features Combs personifying him with 90 riveting minutes ranging from comedy to horror and tragedy. 
Tickets are $35 general admission and available at http://www.somervilletheatreonline.com.

Thursday, October 9, 2014

THE HOUSES THAT OCTOBER BUILT Peels Back The Seedy Underbelly Of Halloween Haunts



With Halloween a few mere weeks away millions of people are looking to get their scare fixes in. Whether loading up the Netflix queue with horror movies, checking out a Stephen King book out of the library or hitting a local "haunted" house or hayride attraction with buddies. The thing about your hardcore horror fan or adrenaline junkie, however, is it takes a hell of a lot to get the blood pressure to rise or the hair on the back of your neck to stand up with fright. A by the numbers affair with some pun riddled tombstones surrounding cheap, plastic props and the occasional rubber masked actor shouting "Boo!" is more likely to elicit derisive laughter than any sort of fright. Those that look forward to Halloween year round are always looking for the next big thing in fright, hoping to find an experience that is all too "real", pushing just up to the line that threatens bodily and psychological harm on whoever enters. It's why haunts like Blackout in NYC sell out night after night, despite (or maybe because) patrons have to sign a waiver absolving the company of liability. That's the pull of the new found footage film The Houses October Built, which explores the phenomenon of extreme haunts.


Five friends load up the RV to go on an impromptu road trip the week before Halloween. The trip is the brainchild of Zach, who plans on filming everything that goes on. Zack has mapped out the locations of haunted attractions that have the reputation for making anyone that enters them to soil their pants. These are the places that are far off the beaten path, where the hired help isn't really "acting" when they threaten to tear the flesh of the bones of the customers before eating it raw. Along the journey, Zack hears whispers of a legendary traveling haunt called the "Blue Skeleton." As the crew continues their journey, things start getting Heart Of Darkness, as the carnies and haunters start to follow them from haunt to haunt, tormenting the crew behind the scenes.

House survives what might be the worst opening twenty minutes of any movie this year to become not only passable, but a damn near classic. It’s too bad the first act falls victim to many of the worst aspects of found footage films: brief introductions to cookie cutter characters you care not a whit for (the exception being Brandy Schaefer, who is quite good throughout the film) and the potential scares are marred by shaky camera movement while someone runs full steam ahead. When we get to the moment when one of the characters is pretending to be stoned and cracking himself up, I came a moment away from turning off.


Luckily, the film picks up steam as it goes along, culminating in the best final twenty minutes of any horror movie I’ve watched all year. Director Bobby Roe does a masterful job at not tipping the Blue Skeleton crew’s hand once they finally catch up with the documentary crew. As they force the friends to go through the final haunt separately, it isn’t completely clear if they are messing with them ala Blackout, or if they do indeed have murderous intent. It’s a terrific sequence that knows to not overplay its hand, allowing the tension to build to almost insufferable levels before chaos takes over.


The middle section of the film helps build toward the climax with some terrific sequences of their own. Houses has some smart insights on white, middle class privilege, as the RV crew we follow are essential bored adults looking to exploit what they deem a lower class of carnies for their own entertainment. While plenty of films examine the rush we as genre fans get from being scared,  director  Bobby Roe takes the time to explore why certain people want to scare the piss out of fellow humans. Brief segments with some of the attraction workers show a real undercurrent of anger and ill sentiment towards the patrons, and along with the lack of regulations, or even a simple background check in some instances, give the film a sense of foreboding and danger.

There are a handful of titles that should be staples for any Halloween themed movie marathon. In the past few years Trick ‘R Treat has become a go-to flick for everyone that loves the holiday. While The Houses That October Built does not quite reach the lofty heights of that film, it for damn sure belongs in the conversation. Do yourself a favor and check this one out this holiday season.


Monday, October 6, 2014

INNOCENCE: Dreary teen film does not bring any scares




Innocence (dir. Hilary Brougher)



The opening scene of INNOCENCE would lead you to believe that it has a surprise or two up its sleeve. A teenage girl, Beckett (Sophie Curtis), is surfing with her mother and having a great time. Suddenly, her mother disappears in the water. The ensuing panic is heightened by the crashing waves and her father (Linus Roache) on the beach, helpless and panicking. 

Unfortunately this is the best scene you get in this whiney and exhausted film. We then follow Beckett and her father’s move to New York City to make a new start after her mother’s death. Predictably Beckett is enrolled in a prestigious all-girls school, complete with cutesy uniforms, where not everything is as it seems. A fellow student’s suicide (or was it?) on her first day at school sends Beckett on a trail of investigating exactly what is going on at the school. 

One thing that is obvious from the beginning of Beckett’s matriculation is that something is definitely going on with the faculty at the school. All of them, from the teachers to the school nurse, are gorgeous women who all look a little young for their titles. These women are all warm and caring towards Beckett, but a little too friendly than they need to be. The book club that they run on Friday night, along with friends from outside of the school who fit their same profile, raises suspicion when it happens to coincide with the mysterious suicide. 

Featuring plot holes and incongruent details that are all too common in films without originality, INNOCENCE is a perfect example of sloppy filmmaking. Beckett has visions of other girls who have tragically died at the school, but it is never clear how or why she is seeing them. Is she somehow special? Clairvoyant? A medium? Nothing is explained. It is also never made clear if these visions are ghosts or hallucinations. No matter what they are, these visions are the only things that ever move the plot along, so I can’t complain too much about them. 

Even with these plot issues, my biggest issue was with Beckett. She acts flat and sullen throughout the entire film. At first it is easy to dismiss her droopy eyes and weak vocal projection as a shy girl who has just lost her mother, but as the film drags on she continues to be a drag. I am not familiar with Curtis’s other roles, so I cannot quite determine if this was a misguided decision by the director or if the actress could not bring anything else to the role. As the central character in a potentially emotional horror film she fails to carry the film. 

One thing I did like is the realistic depiction of contemporary teenagers. Their relationships and afterschool activities were genuine. Most of the dialogue was free of dialect missteps. Also, when Beckett loses her virginity it is not a huge romantic pinnacle of her teen years, it is just a step to take with her crush. The teens were well thought out and reflective of kids today. 

But having some well depicted youngsters is not enough to warrant a viewing of the film. It brings nothing new to the schoolgirls-in-plaid subgenre of horror film and is so boring that the main character is sleepwalking her way through the clichés. 


Stuart Gordon's Live-Action RE-ANIMATOR Returns To The Steve Allen Theater This Halloween Season



Just in time for Halloween, Stuart gordon's stage adaptation of his classic film, RE-ANIMATOR: THE MUSICAL returns to the Steve Allen Theater on Hollywood Boulevard. This is a limited engagement run through November 2nd, with previews beginning Friday October 10th.

Not only is Gordon back pulling the cast's strings from behind the stage, he has also brought onboard members of the FX team that created the gristle and gore for the film. In fact, things get so bloody, the front two rows have been designated as "splash zones" and patrons are encouraged to dress appropriately in slickers, lest they find themselves covered in homemade viscera. Taking on the role of the deranged Dr. Herbert West is none other than Graham Skipper, who horror fans should know from his starring role in the low budget Carpenter homage ALMOST HUMAN.

The musical isn't only a treat for horror fans, but it's won a metric ton of awards, including six from LA Weekly alone, including Best Musical, Best Musical Ensemble, Best Direction of a Musical, Best Original Music, Best Adaptation, and one I can't imagine it had much competition for: Best Blood Effects. So if you're husband or wife isn't a fan of horror movies, but loves musical theater, why not have a night out rather than settle for Netflix and shitty pizza?

If you turn out for this play expect a slew of new tunes, some fantastic gore and a fun romp that does some pretty silly and special stuff with the Lovecraft source material.  Honest to God I would be all over this if I didn't live 3,000 miles away.


Tickets are now available through the Trepany House Link!

Preview tickets are $20 each and $25 for the rest of the run.



 

Miike's OVER YOUR DEAD BODY: Artful But Not Quite The Over The Top Return Promised




It's been said there are two Takashi Miikes. There's the early period Miike who tore into the human body with the gleeful abandon of a child unwrapping presents under the tree on Christmas morning, as seen in his early efforts Audition, Gozu or Ichi The Killer. There's also the latter period Miike who has emerged as a respected technician able to craft beautiful images and engaging, epic stories. We've seen this Miike in recent years with 13 Assassins. Over Your Dead Body promised a merging of Miike's dueling sensibilities. This supernatural tale was said to mark the return to Miike's blood soaked ways while continuing the artful rumination that have embodied his modern films. The result is something that looks mind altering beautiful at times, but too tame to satisfy fans of Miike's early hardcore violent work.

Miike's fascination with samurai culture continues with Body, as the film interprets the two hundred year old stage play “Yotsuya Kaiden.” This cultural landmark explores the repercussions of deceit when a dishonest samurai turns his back on his faithful wife and family in order to trade on a better offer from a wealthy patron. The stage play's supernatural motif carries over into the love triangle of the play's three leads. The lead actor Kosuke (Ebizo Ichikawa) is engaging in an affair with his younger costar at the expense of his real life girlfriend and on stage wife Miyuke (Shibasaki). The events of the play and real life begin to mirror, then blend into one another, creating a nightmarish vortex of bloodshed and insanity.

Miike's time directing theater is on full display here, as about one half of the film consists of the play's stage rehearsals. This takes place in front under the watch of the play's production theme, and it's a full blown dress rehearsal complete with lighting cues and an awe inspiring revolving set. We see our three leads slip into their characters, and there's a question as to whether or not they are being influenced by supernatural sources as their off stage lives begin to mirror events of the play.

It's easy to understand why the legendary play inspires Miike. His work contains an undercurrent of men done in by their own duplicity, and the climax of Yotsuya Kaiden finds its lead samurai done in by his own fit or terror. Miike's protagonists are often ordinary men with ordinary flaws done in by extraordinary circumstances. We see that here as Kosuke's affair overwhelms him, his attempts to keep his lover in the dark leading him down a dangerous path he cannot hope to extradite himself from.

Fans expecting a return to the gonzo days of early Miike may walk away disappointed. Even during the film's gruesome home abortion scene, plastic sheets have mysteriously appeared out of nowhere in order to cover every surface. It is if even when creating bloody mayhem, the modern day Miike is all to aware that someone always has to stay behind to clean up the mess. It is surprisingly restrained work from one of the true masters of body horror working today. Even the action that takes place in Miyuke's apartment take place against a white, sterile backdrop, suggesting a sanitized and cleaned up version of the gonzo Miike we have come to know. Ultimately, Over Your Dead Body is far too restrained an effort, and the stakes for its characters too low, to truly invest in it as an out and out horror spectacular.


That's not to say one should dismiss the film entirely. I would be thrilled to see Miike's vision of Yotsuya Kaiden in its entirety. The stage's set design is eerie and beautiful, all the more so as it revolves from moment to moment in the silence of the near empty theater. These moments feel like they are trapped in time, and the players are doomed to repeat them for time unending, lending a sense of fate and inevitability to the film. While the climax may underwhelm, the journey getting there is a haunting one, and it is well worth your time and attention. Miike shows how the supernatural can be beautiful and how revenge, even from beyond the grave, can be justified.  

Review: INNER DEMONS Squanders Promise, Sinks Into Stale Demonic Tropes



As a found-footage horror flick, “Inner Demons” is as clichéd and by-the-numbers as they come. It’s stilted, dull and lacking in any genuine scares, resulting in a film that feels both shamelessly dated and severely underwhelming for an entry in its millennial subgenre.

The premise isn’t terrible: A teenage girl named Carson (Lara Vosburgh) who has an addiction to heroin becomes the subject of an Intervention-esque reality show, ultimately coming to terms with the notion that she needs to attend a rehabilitation center in order to recover. As the producers and cameramen behind the series soon discover, however, this young woman believes that she may be possessed by a demon, and uses drugs as a way to prevent the malevolent force from taking control of her body.

It’s a story that sparks an intriguing amount of moral ambiguity. Is Carson’s desire to get high so severe that she’s lashing out in some sadistically delusional ways, or does she truly believe that a satanic presence is forcing their way inside of her, using drugs in a twisted, ironic way to protect herself from the pain it's causing?

Unfortunately, the film is far more interested in delving into stale, conventional material we’ve seen in countless other movies. Not only does it eliminate any sense of the psychological enigma at hand, but it also relies too heavily on cheap supernatural tropes that border on the brink of self-parody.

When Carson has been clean and sober for a couple of days, she begins to speak through demonic chants as her eyes roll up to the back of her head. Her religious mother begins to share a prayer with Carson during one of her visits, only to get doused in her vomit. A crew member splashes some holy water into a bubbler that Carson drinks from, resulting in a copious amount of blood erupting from her mouth.

The film provides us with a variety of details that go beyond the edge of absurdity, including facts about Carson’s childhood that reduce her character to little more than a cardboard copy of nearly every female victim of possession within the horror genre. She used to be a delightful straight-A student who memorized nearly every line of the bible and attended one of the best Catholic schools in the state, only to lose her way to drugs, dress all in black, and wear more gothic make-up than Marilyn Manson… Give me a break.


In one scene, we’re even filled in on a racially stereotypical piece of exposition from a black nurse in regards to why she placed a wooden cross under Carson’s bed. She confesses to one of the cameraman that she’s witnessed similar behavior by another woman in her African village growing up, who was eventually tied to a tree, covered with the blood of a goat, and beaten with sticks until she was killed. It’s cringe-inducing to listen to these discriminatory banalities, and it’s even harder to take them seriously.

Lazily written by Glenn Gers and sloppily directed by Seth Grossman, who spent no time constructing any aesthetically compelling compositions, “Inner Demons” is a juvenile exercise in found-footage horror. The one guilty-pleasure I had in watching this grim, self-serious slog of a film is reveling in the unintentional hilarity of its “shocking” ending, which aims for Greek tragedy, but is so outlandishly over-the-top that it's bound to have viewers howling their way out of the theater. I laughed to the point of coughing up blood, myself.