Wednesday, May 21, 2014

Review: Godzilla

Unless you’ve been living somewhere very, very deep in the ocean, you know that Godzilla has stomped his way into theaters.  Actually, if you do live there, you probably swam for your life when he awakened.  Anyway, the flick is proving to be quite divisive among fans of the longest running franchise in film history.  Some are hailing the first American made Godzilla flick as the best kaiju movie in decades.  That’s right, I said the FIRST American Godzilla.  I don’t know what you were thinking about, but it wasn’t a Godzilla flick.  It just wasn’t.  Arguments will not be tolerated.  Others are saying that the summer tentpole action flick is not a vehicle befitting of the King of the Monsters.  Either way, the time has come once again for nature to point out the folly of men. 

Synopsis:  Two giant monsters (dubbed MUTOs) rise up to destroy stuff.  This awakens Godzilla, and he’s pissed.  Monster mayhem eventually ensues.  ‘Nuff said.  Does anything else really matter?

My biggest fear about an American Godzilla flick was that it would take after Pacific Rim and look like a cartoon.  My hatred for CGI is well documented, and I went into this movie fully expecting a CGI Godzilla to drive me into a frenzy of righteous indignation.    Well, I’m about to say something I have only said in one other review over the last three and a half years… the CGI in this flick looks fantastic.  I would go so far as to say that this is the best computer generated monster that cinema has ever produced.  I will always be a rubber suit kinda guy, but visually this movie absolutely does our favorite gorilla-whale justice; maintaining that classic purposeful grimace and terrible sound.  While I didn’t dig the rather generic design of the MUTOs so much (pretty much just like the Cloverfield monster), they look great as well.  Even the digitally created environments impressed.  Not once while watching it did I cringe at the visual effects, and I can’t remember the last time I could say that about a modern fantasy “blockbuster.”  I also love that Gareth Edwards took a more old-school approach to the action sequences.  Whereas almost all action flicks these days follow that “shake the camera and edit it as quickly as possible” style that makes the Transformers flicks so unwatchable, this flick lets the shots linger, allowing the audience to revel in the sheer majesty of Godzilla’s presence.

Most of the vitriol being thrown at the movie by critics and fans centers around two things, the weakness of the overall story and Godzilla’s lack of screen time.  Those who decry the lameness of the romantic subplot and the uninteresting human element are actually one hundred percent right.  The love story is contrived and eye-rollingly sappy.  With the exception of Bryan Cranston as the kooky scientist with all of the answers who no one will listen to and Ken Watanabe as the scientist there to look distraught, no one is particularly likable.  Ford Brody (really?) is your generic good guy with a tragic past, and Kick-Ass plays him like he’s trying to emote while heavily sedated.  Elizabeth Olsen’s acting is laughably bad as the wife he may or may not make it back to.  Everyone else is just plain unmemorable. 

I ask you, however, is this either surprising or a big problem?  I don’t think so.  When was the last time that the humans in a Godzilla flick presented an engaging, emotional story?  Hell, when was the last time they even mattered?  That’s right, the first one.  People forget that Gojira (as well as its American counterpart for that matter) was more than a monster flick.  In its day, it was considered controversial and somewhat subversive.  It used the story of a rampaging beast to address a lot of subjects that were extremely taboo in Japanese society.  It was dark, intense, and pretty powerful when viewed in context.  Then, when Godzilla himself became hugely popular, the human story became secondary.  They’re just there to deliver a little exposition and run away screaming.  Nothing more than the plate that the action is served up on.  Would it have been nice to have a powerful story with well-drawn characters framing the destruction?  Of course, but I think it’s a bit ridiculous to go in expecting that.  Those that did may have forgotten what kind of movie they bought a ticket for.

The other problem people are having is the lack of Godzilla in Godzilla.  I didn’t time it, but I would estimate that Big G is on screen for about 20 minutes out of the film’s 123.  Sure, I would have liked to see a lot more of the main man, but there are quite a few factors that keep me from sweating the titular monster’s meager screen time.  I get what they were going for and I think it worked.  Godzilla is in the flick just enough for the story they’re telling.  I know, I know, I was expecting a Final Wars style balls-to-the-wall monster romp too.  But it’s more along the lines of the first one and I’m cool with that because when Godzilla IS on screen, it’s magical.  Even when we’re not beholding him in all his glory, those glimpses are enough to make me feel like I did as a kid watching the old flicks on late night TV.  For example, for a while we only see Godzilla’s back as he swims across the Pacific towards the inevitable city-destroying confrontation.  It plays like an action hero’s “someone is gonna get their skull caved in” walk.  You know what’s coming, and it’s gonna be glorious.  Plus, we get some great moments with the MUTOs outside of their interaction with Godzilla.  There is one scene (I won’t give too much away, but it involves a train trestle) that is one of the strongest moments in the flick.  I also have my doubts that those killer visual effects would look nearly as good had the animators had an entire movie’s worth of kaiju footage to contend with as opposed to focusing on keeping fewer scenes looking so bad ass, making it a question of quality over quantity.

My one major issue is that it’s about 15 minutes too long.  I will admit to looking at my watch a couple of times, particularly during the first half, and wondering when business was gonna pick up.  Don’t get me wrong, when it does get going it clicks on all cylinders.  It just takes its sweet time getting there.  Had they paced the expository stories faster, or cut some of it altogether, it would have fixed everything.  No one would be bitching.  The story wouldn’t have time to feel uninspired and the human to Godzilla ratio would be more along the lines of what people were expecting.  It’s fine as it stands, but it seems to me that some tightening up would have made it a stronger flick and delivered something closer to what the people who didn’t dig it seem to have been looking for.

Random Thought #1: I must have reacted loudly to a lingering close up of one of my beloved Madagascar Hissing Cockroaches, because people looked at me like I was crazy.  I couldn’t help it.  I love those little guys, and seeing one on an IMAX screen made me one happy Bogey.

Random Thought #2: Speaking of IMAX, see it that way if at all possible.  I’m not normally a big IMAX fan, but if there was ever a movie that demanded to be seen on the biggest screen possible it’s this one.

Random Thought #3: Bryan Cranston reminded me a lot of Adam West in this flick for some reason that I can’t put my finger on.

Is this the Godzilla flick that I was expecting?  Nope.  Is it the Godzilla flick I wanted?  Kinda.  Is it a Godzilla flick that I enjoyed the hell out of?  Damn straight.  It got too slow for my tastes here and there, but when Big G showed up, all of that was a distant memory.  I literally found myself, on more than one occasion, cheering at the top of my voice in the theater before I even knew I was doing it.  Outside of that rare, incredible kill in a horror flick, that never happens.  When I looked around, the rest of the crowd was cheering too.  As I said before, I felt like a kid watching this.  As long as you know what kind of movie you’re going into, I think it will have the same effect on you.  Here’s hoping that this is the first of many stateside trips for the terror of Tokyo.  Godzilla proves, once again, that he will always be King of the Monsters.  Long live the King!

Thursday, April 10, 2014

Win An Autographed Copy Of The Casket Creature's EP She Screams!

The Lunatics from the Sticks.  The Ghastly Ghouls of Gainesville.  Dirty South Frightrock Juggernauts.  Whatever you want to call them, The Casket Creatures are back with a brand new EP called She Screams.   It delivers all of the ferocity and raw terror you’ve come to expect from the reigning kings of Atlanta’s horror rock scene while continuing the evolution of their sonic attack.  After lineup chaos that would cripple most bands, The Casket Creatures have emerged a leaner, meaner beast ready to raise the dead and rock the living.

Throughout their two full length albums and now the EP, you can hear a clear progression.  Like any good band, they continue to evolve and challenge themselves while maintaining their trademark sound.  She Screams sees the Creatures move in a somewhat “punkier” direction.  They’ve shed a few of their more metallic elements without sacrificing any of the intensity.  I think a lot of that lies in the guitar work.  With Jamie’s departure, last axe-man standing Derek Obscura’s signature sleaze/glam punk edge takes center stage.  If I were to compare it to anything, I would say the guitar style sounds sorta reminiscent of a less poppy version of Wednesday 13’s better work.  That’s not to say it sounds the same, however.  Derek definitely has his own style and flair… and damn can that boy write a catchy ass riff!

Where the rhythm section is concerned, new bass monster Cliff Damnage brings a punishing energy to the bottom end.  Wow, that sounded vaguely dirty.  Anyway, nothing against any past member, but Cliff is the perfect fit for the band and his contribution goes a long way towards the gelling of a cohesive sound.   Besides, it’s always a good sign when your bass player is named Cliff, right?  As they’ve had a bit of a Spinal Tap drummer situation going on lately, I can’t really say much as to the drums on the record.  I can say, however, that after seeing new skin basher Brandon Deadly in action live, he’s more than capable of taking up the mantle.

Ryan Cadaver continues to develop the signature “aggro-croon” that makes him one of the most dynamic frontmen in the genre, but the real surprise on this album is in the backing vocals.  She Screams features a LOT of harmonizing.  Remember when harmony was a dirty word in heavy alternative rock until Alice In Chains showed us that it could be damn amazing?  This is the American horror punk equivalent.  The harmonies on songs like Haunted and The Final Night (is it kosher to call horror punk “woah-oh-oh’s” beautiful?) take the role of vocals in this style of music to a new level.

The band definitely maintains their macabre sense of humor on this EP.  The interlude that precedes Zombie Werewolves From Outer Space reminded me of some of the silliness from The Ghastly One’s classic A Haunting We Will Go-Go album.  Graveyard Girl strikes a great balance of light-hearted and heartless, and GKMF revels in giving the world a giant middle finger with a little smirk in its sneer.  Even straight ahead tales of terror like the title track, a botched exorcism ode, and the apocalyptic The Final Night crackle with an element of fun that makes this a great Halloween party album any time of year.

As far as picking a standout track, there really isn’t a weak link in the bunch.  I guess I would have to go with the title track, She Screams.  It stands alongside Lizzie’s Song and A Step Ahead of Death as possibly the best song the guys have ever unleashed.  In fact, the songwriting all around is top notch.  I catch myself singing these tunes in the shower, which I consider the mark of true quality.  I know, the mental picture of me in all of my sudsy, naked glory belting out Zombie Werewolves From Outer Space just made this one a must own.  You’re welcome.

The Casket Creatures, Phantom Troublemaker, and SOC.

By now you’re asking yourself “how do I get this goodness in my earholes?”  Well, She Screams is currently available for purchase on Amazon, itunes, and CD Baby… OR you could enter to win the autographed copy I’m giving away.  That’s right Cellmates; I have one brand spanking new copy, autographed by your favorite horror punk band, to give away to one of you.  Who loves you, baby?  All you have to do to enter is leave a comment below with your email address and your favorite horror-influenced song.  It could be horror punk, metal, some obscure blues song about crossroads demons, an Alice Cooper classic, a country murder ballad, a movie score, Heffalumps and freakin’ Woozles, whatever.  As a bonus, if you go check out The Son OfCelluloid Show (LINK) AND subscribe to the youtube channel, I’ll enter your name twice.  Just make sure you alert me to that in your comment.  The contest ends on April 23, and the winner will be announced on episode 3 of The Son Of Celluloid Show on April 28.  Now get cracking, Cellmates!

Thursday, March 20, 2014

Book Review: Hidden Horror

All film fanatics know the exquisite frustration of whole-heartedly loving a flick that no one else seems to know exists.  How the hell has no one else heard of your beloved, unappreciated masterpiece?  On the other hand, there are few geeky pleasures quite like leading someone into a dark new corner of the garden of cinematic delights and showing them their possible new favorite movie.  That’s what a hundred and one of the top writers documenting the horror genre today (with one MAJOR exception, ahem!) have done with Hidden Horror.   It’s like perusing the horror section of a video store in the days of yore with your weird, horror obsessed friend pointing out the gems.

Being both a diehard horror junkie and the holder of a (pretty much useless) degree in film studies, I have read far more than my fair share of film criticism.  To be honest, the vast majority of these books suck like Vincent Gallo promised them that it would be their breakout role.  That’s why it makes me extra happy to report that Dr. AC and his cohorts did damn near everything right with Hidden Horror.  It’s a collection of essays highlighting some lesser known fright flicks that the writers think deserve more respect and a wider audience.  I like that the roster of contributors is so deep and widely varied.  The amount of different styles, voices, and perspectives keeps the reading fresh throughout.  All of the writing is quality, and the enthusiasm these folks have for the genre bleeds through every word.  Hidden Horror even contains entries from 3 What Halloween Means To Me alumni; John Squires, Freddie Young, and Jude Felton.  Cellmates represent!

Although with any list like this you’re going to find a few that don’t exactly fit your definition of obscure (TREMORS?  Really?), for the most part the movie selection is top notch.  Everything from groundbreaking flicks like Coffin Joe’s At Midnight I’ll Take Your Soul and HG Lewis’s protosplatter classic The Gore Gore Girls to VHS era favorites like Razorback and extreme foreign shockers like Ichi the Killer get equal time and love.  I’m also happy that the majority of the films, while not widely seen, are fairly easily available.  Too many “horror you haven’t seen” lists miss the whole point and get all kinds of snobby listing movies you can’t get your hands on. 

The cake from the launch party.  How cool is that?
The finished physical package of the book itself deserves a mention.  Most independent horror books look the part.  They’re cheaply put together and often badly edited.  Not so with Hidden Horror.  It’s a class production all the way; from the killer cover by Brett Harrison to the appealing, photo laden layout.  One of my biggest sticking points with small press books lately is the sheer amount of spelling and grammatical errors.  It’s like people forget that this is the final product they intend to represent them as a writer/publisher.  For this Grammar Nazi, that’s a deal breaker.  It may seem like a small thing, but I’m two thirds of the way through this book and have yet to find a typo.  Aaron Christensen is excellent in the role of editor.  Well done, sir!

 There’s something else I dig about this book; and I warn you, we may be veering into TMI territory here.  Hidden Horror currently occupies the highest place of honor a book can hold in my house… the back of the toilet.  On a recent hibachi excursion, some friends and I were discussing how the age of the smartphone has all but done away with the time honored tradition of bathroom reading.  We also discussed what makes a good addition to a lavatory library, and Hidden Horror exemplifies what I look for in what I lovingly call a “dump book.”  Each entry is self-contained and runs about three pages; a perfect length to stimulate your mind when you’re not going anywhere for a couple of minutes.  When talking about books, I constantly hear “I just don’t have time to read as much as I’d like to.”  Well, if you’re too busy to consume the whole book in a couple of sittings, fear not!  Prolong the fun and ensure that your next 101 times upon the throne will be both entertaining and educational.

Any book that lists Alucarda, In a Glass Cage, and Company of Wolves together is an indispensable tome as far as I’m concerned. No matter how well versed you think you are, you will leave this book with titles to track down. Hell, even I came away with an updated "must see" list.  Hidden Horrors stabs you with 101 of the best obscure horror needles so you can skip the bloody haystack, and it deserves a place in every cinephile’s library.  Nathan says check it out.

Hidden Horror is available here... AMAZON
...and here... BARNES & NOBLE
... and here... KITLEY'S KRYPT

Son Of Celluloid's Video Interview With Fred Vogel

It was getting close to midnight on a cold Sunday night in February.  The madness that was Days of the Dead Atlanta 2014 was over.  Most of the celebrities were on their planes home and the unconventional conventionalists had returned to their lairs to sleep off their buzzes and gush over the treasures they purchased.  Those of us left at the hotel were brutally tired.  The walking dead weren't all on TV that evening.  I can't speak for everyone, but I was in that weird space where you're simultaneously hung over from the previous three nights and still drunk from that day.  It was at this bleary-eyed witching hour that one of the coolest events of the weekend occurred.  
I had been trying to get together with Fred Vogel, who I refer to as the Patron Saint of the Underground, for an interview all weekend.  He was busy as hell, as was I, so the calm after the storm proved to be the right time to sit down for a chat.  If I need to explain who he is, then report to Remedial Independent Horror101 on the double.  Few people embody the SOC battle cry of "SUPPORT INDEPENDENT HORROR" like him.  Fred (along with his lovely wife Shelby), is the mastermind behind TOETAG Inc.  He's been spreading the sickness for almost a decade and a half with movies like Redsin Tower, Sella Turcica, Maskhead, Murder Collection, and the infamous August Underground trilogy.  
The original plan was to chop this interview up and incorporate it into episoides of The Son Of Celluloid Show, but since the show is taking so long and this interview is too good to hack up (although that would be kinda fitting), I decided to go ahead and put it out there.  My only regret is turning the camera off.  Once the official interview was over, he hung out and shot the shit for about an hour, all of which was a golden education in the world of indie horror.  Talking to Fred was a true pleasure, and I think you'll dig the video.


For all of your TOETAG Needs, go to

Monday, March 17, 2014

Interview: ArME/Lust Director Keith Voigt Jr.

One of the coolest things about the 2014 edition of Days of the Dead Atlanta last month was the increasing presence of the underground.  I got to screen some of my favorites at the Son of Celluloid event, I hung out with standard bearers like Jason Hoover from Jabb Pictures and Fred and Shelby Vogel of TOETAG, and I was fortunate enough to meet some of the fresh, new talents who are poised to carry the indie horror banner into the future.  One of those filmmakers ready to make their mark on the genre is Keith Voigt Jr.

His first DVD release is currently available from TOETAG’s website and store.  It features two excellent shorts, ArME and Lust.  ArME tells the story of Daniel, a recently discharged Iraq veteran.  He returns from war a changed man, and reassimilating into society may be more than he can handle as his mind and relationships spiral out of control.  Lust is a story of unrequited love.  Can Lily cope with her feelings, or will her obsession consume both her and the object of her affestion?  Both shorts feature some fantastic acting, good gore effects, and thought provoking stories.  The DVD comes packed with commentaries, a bonus short, and plenty of other goodies for only 10 bucks.  Hell, you’d spend more than that going to see the newest derivative, vapid crap Hollywood has shat into your local multiplex.  What are you waiting for?  Follow that link at the bottom of the post and get your own copy or pick one up when Keith and/or TOETAG invades a horror convention near you.  Nathan says check it out.

In the meantime, I’ve invited Keith to drop some knowledge on the Cellmates about his films, sex, gore, his directing process, and wielding automatic weapons on city streets.  Enjoy!

SOC: For the readers who aren’t familiar with you, please introduce yourself.

KVJ: My name is Keith Voigt Jr. and I am independent filmmaker.  My short films ArME and LUST were released by TOETAG INC. and I love Chinese food!

SOC: What was it that first piqued your interest in making horror films?

KVJ: I had always loved horror films.  I remember as a child I would sneakily watch them in the middle of the night.  Stuff like Friday the 13th and The Shining.  As I got older my love for the genre only grew.  I started watching more and more and seeking out pretty much any horror movie I could get my hands on. When I started making little skits on tape in 8th grade naturally I started making little horror films, mostly involving serial killers, and I have just expanded from there.

SOC: When did you discover the world of underground, independent horror?

KVJ: Well as I kept watching these movies I started to seek out more extreme stuff.  Like at the video store I would try to find the most extreme “R” rating or the craziest cover.  If a film said “Unrated” it was like a holy f**king grail.  But I didn’t really find out about the scene that I am in now until I was 16.  A guy at a video store I used to frequent told me about Cinema Wasteland and it sounded awesome so I went. I had a blast.  Then I met the TOETAG crew and the rest is history.

SOC: The use of extreme sex and gore can be very controversial in horror circles, and both ArME and Lust include some pretty graphic scenes.   What do you think the role of this kind of imagery is in telling a story, and is there an aspect of “shock for shock’s sake” in your work?

KV J: I think sex is a natural thing and shouldn’t be shied away from.  If I am making a realistic film (which most of my movies are) then I want to use realistic sex.  It has a huge role in my stories. The reason the sex scene in ArME is so graphic is because I am telling my audience “LOOK, she is sexy, these people are f**king, that’s her pussy, this should be awesome…but our main character is so f**ked up he doesn’t care”.  So it all has a definite meaning behind it and message that it is sending.  As far as shock for shock’s sake, I would say that LUST has a little of that but not ArME.  I was a little younger when I made LUST and I needed to get my foot in the door, so there was a little of that “what’s the most f**ked up thing I can think of” attitude.

SOC:  Do you ever have trouble finding actors/actresses willing to do some of the more extreme things in your flicks?

KVJ: Luckily I have not had any trouble.  The people that I get to be naked really believe in what we are doing and know that it’s all imperative to the story.  They are also comfortable with their bodies.  If I can give any advice it’s just not to be a f**king creep about it. Just be honest.

SOC: ArME and Lust are both very character driven.  With films that hinge so much on the lead performance, do you take a more active role in developing the character or rely on the actors to come up with their interpretation?

KVJ: I work very hard with the lead actors to come up with the kind of character I want.  I do give them free range to create certain parts of their characters and by the middle of production they usually know what their character would do better than I would.  I am an actor’s director.  Rather than focus all my attention on lighting or other production aspects I like to spend a lot more time with the actors making sure that we get the best performance possible.  I mean, I do light and sometimes I am even the cinematographer, but the performance comes first for me.

SOC: In Lust, the character of Lily can really be interpreted as both monster and victim of herself.  Which do you see her as?

KVJ: I see her as a little of both, but more a victim.  She has been so overcome with lust that she can’t control what she is doing.  I find that sad.  Some people are weak minded, but for someone to do what she did she must have some deep rooted problems.

SOC: You said in the commentary on ArME that at least one military veteran consulted on the film.  Have you shown the completed flick to any vets and what was their reaction?

KVJ: Yeah I have shown the film to a couple of veterans and have gotten very positive feedback!  I was worried about that.  I totally respect every brave soldier out there.  I just disagree with the war.  When I was in pre-production on the film I talked to an Army Soldier and a Marine.  They told me some horrific stuff, and I tried to keep it as truthful and respectful as I could within the horror film structure.

SOC: One of the special features on the DVD is a short called Sandwich, but there’s no information about making it/when it was made/etc.  Could you give us a little background on that one?

KVJ: Sandwich was a crazy idea I got one day while hanging out with my fiancée.  It was made after LUST and ArME.  It was very fun to make and I was excited to show it to the world.  It can also be seen for free on our youtube page.  As far as an explanation of the movie, I will never tell.

SOC: Both Lust and ArME have horrific stories that are firmly rooted in reality and very personal, but Sandwich is pretty out there.  Do you enjoy doing the more bizarre concepts or do the other two represent more of your direction moving forward?

KVJ: I do enjoy the bizarre but I prefer the more real dramatic stuff.  I would say ArME and LUST represent the direction I am heading in, but you never know. Just like with Sandwich,  I can throw my audience a curveball every now and again.

SOC: ArME is a much more expressionistic film in terms of lighting and editing whereas Lust is more naturalistic.  Was this just a representation of your growth as a filmmaker or was the difference intentional based on the nature of the stories?

KVJ: I would say a little of both. With ArME I really wanted to show how our lighting has improved so I wanted to do cool things with that, but at the same time the structure of each film is completely different.  LUST follows a much more narrative structure with a clear point A and point B whereas ArME is sort of built up of micro scenes.  Instead of focusing on the scene as a whole I focus on little moments, so it also changed a bit with the nature of the stories.

SOC:  What’s your favorite guerrilla filmmaking “I can’t believe we just pulled that off” moment?

KVJ: Probably in ArME when we were on the streets with real illegal automatic weapons. We had cases of guns lying around and it was very intense.  I was worried that we were going to get arrested because we had no permits and we didn’t let anyone know, so when we wrapped I was so excited that we actually got that.  And when it was all edited together I was even more excited.  It’s a chilling scene.

SOC: Do you see short films as smaller features or is the short an art form all its own?

KVJ: I see it as an art form all on its own. You know what you need to move the story along and they are usually fast paced. I love making shorts. There is a real science to making short films.

SOC:  How did you hook up with the TOETAG crew, who are distributing ArME/Lust?

KVJ: As I was saying above I was a 16 year old kid at Cinema Wasteland. I had heard of August Underground’s Mordum and I bought it there and met the crew. When I watched it I knew that these guys were the real deal. I kept going back to Wasteland and formed a friendship with them, which has only grown in time.  Fred Vogel told me to go to college and make some movies, and I listened. When I got out of college he was very proud of me and I showed him the movies. He loved the shorts so one day I got the balls to ask him if he wanted to release them.  He said yes. TOETAG supports every independent filmmaker.  I owe them the world. We are all a family. I am glad that I did ask them to release my shorts because I have opened the doors for other filmmakers to do the same and I can’t wait to see what TOETAG puts out next.

SOC:  Have you decided on your next project yet?

KVJ: Yes I have.  It’s a feature called Haze Period, and it’s a new take on a drug movie with horror elements.  It reflects young contemporary drug culture. We will have an Indiegogo campaign up soon to raise the final bit of money we need to start shooting. It will be my best work yet.

SOC: Any last words?

KVJ: Thank you for having me and asking some brilliant questions. I hope everyone had as much fun reading as I had writing.

ArME/Lust is available HERE.

It will also be available at HorrorHound Weekend (Cincinnati, OH March 21-23), Cinema Wasteland (Strongsville, OH April 4-6) and Days of the Dead (Indianapolis, IN June 27-29).
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