2013 Wrap Up: Year End Awards And 20 More Great Films From Last Year

2013 was a damn good year for horror, and don’t let anyone tell you differently.  Sure there as some real crap out in theaters, but this was probably the best year for major theatrical release horror we’ve had since I started the blog.  Of course, the indie scene gave us more than enough killer flicks to make 2013 a cause to celebrate.   I think it's only fair to recognize a few of those that brought me so much enjoyment.  Now, on to the first annual Son of Celluloid Year End Awards.

Best Non-Horror Flick – The World’s End 
The end of the Cornetto Trilogy has taken on horror and action, so they decided to go out on a sci-fi note  The flick definitely delivered the laughs albeit in a more mature way than Shaun or Fuzz.  This one hit a little close to home, but it was a blast.  The World’s End is everything you hoped it would be.

Runner Up: The Wolf Of Wall Street

 

Best Actor – Mike Nall as Charles Lake in I Am No One 
Director Jason Hoover tells me that Mike isn’t an actor by trade.  "He's just a dude that was willing to go to the edge with me.”  This character immersion technique worked like a charm though, ‘cause he’s genuinely scary.  He’s perfected that chilling “is he really calm or is he just coiled to strike?” delivery.  The finale of I Am No One is the best single scene from any indie flick this year.

Runners up: Lance Henriksen (It’s In The Blood), Sean Pertwee (The Seasoning House)

Best Actress – Rosie Day as Angel in The Seasoning House 
At only 19, Rosie shows the acting chops of a seasoned professional. See what I did there? Anyway, she burst onto the horror scene this year with an incredible pantomime performance as a deaf/mute girl forced to work in a sex-slave whorehouse.  She might just have the most expressive eyes I’ve ever seen.  Rosie has everything it takes to be a horror star.

Runners Up: Katherine Isabelle (American Mary), Ambyr Childers (We Are What We Are)

Hottest Actress – Hannah Hughes (V/H/S/2
 A pale, gothy redhead with sexy lips, pretty eyes, a nice rack, and a dirty mouth?  Yeah, that’s my type.  She’s totally worth dealing with those homicidal ghosts following her around.

Runners Up : Miriam Giovanelli in Dracula 3D, Jennifer Tilly (Curse of Chucky)

 Best Monster Design – Frankenstein’s Army 
Whether or not you dug this flick (and I can’t see how you couldn’t), you can’t deny that those mechanical zombie bastards are some cool ass monsters.  Finally someone found a way to incorporate steampunk into horror and it not suck.

Runners Up: Beatress (American Mary), Bad Milo (Bad Milo) 

Funniest Scene – “Put ‘em on the glass” – The Battery 

Poor Mickey is trapped in the car during a zombie attack, but as the busty zombie presses against the window, he can’t help but do what comes natural.  

Runner Up: “Wire catches arrow” (You’re Next) 

Best Quote – “I want you to f**k me on this bed next to your dead mother.” –  Wendy Glenn in You’re Next 

Kinky.  I like it.  

 Runner Up: “Can I stab her anywhere?” – Sasha Gray in Would You Rather

Best Kiss – Kiss of the Damned 
As a child of the MTV era, I believe that this has to be a category in any movie awards.  Anyway, I seem to be the only person who was highly disappointed with this flick, but there were a couple of cool shots and a kiss through the space of a chain locked door was my favorite.

Runner Up: “Wait ‘til Dad finds out” – We Are What We Are, Various girl on gorl makeouts – Embrace of the Vampire 

Best Sex Scene – Here Comes The Devil 

Felix lets his fingers do the walking as he and Sol breathily discuss their early sexual experiences in the car.  I ain’t gonna lie, that scene is hot as hell.

Runner Up: Emasculating a douchebag (Alyce)

Best Nude Scene – Riki Lindhome in Hell Baby 

There was some great onscreen nudity this year that went for the sexy, but my favorite scene went for the laughs.  Riki stands there naked for a good 3 minutes chit chatting and making her brother in law very uncomfortable in a hilarious scene.  I’d commend her for having the balls to do it, but, well…

Runners Up: Hannah Hughes (V/H/S/2), Asia Argento (Dracula 3D), Strip Club Scene in Cool As Hell

 

Best Performance By A Madagascar Hissing Cockroach – All Hallow’s Eve
 You should know that when a clown hands you flowers, there’s gonna be a surprise inside.  In this case, it was one of these little guys.  It’s always nice to see maddies in a flick.  Hopefully some of my babies will make it to the silver screen.

Runner Up: Dracula 3D

Best DVD/Blu-ray release – The Vincent Price Collection (Shout Factory) 
It’s nice to have the master’s work in hi-def, but the real selling point here is the extras.  Vintage intros and interviews team up with copious commentaries to make this the definitive versions of six Price classics.

Runner Up: Crystal Lake Memories (1428 Films)

Potential Icon Award – Art the Clown (All Hallow’s Eve) 
Coulrophobia is common, so this creepy clown could absolutely bring nightmares to the masses.  Whether it's more anthologies or a feature, he needs to come back.  I can see him on tshirts and being cosplayed (I hate that word) at horror cons.

Runner Up – Bad Milo (Bad Milo), Animal Mask Killers (You’re Next)

Best Soundtrack – Cool As Hell 
I think it’s safe to say that a James Balsamo movie is going to win in this category every year he makes one.  The theme song by the almighty Bloodsucking Zombies From Outer Space would clinch the win by itself, but the movie also features tunes by The Other, Nightmare Sonata, Order of the Fly, and Calabrese to name just a few.  The man has great taste in music.

Runners Up: Lords Of Salem, The Battery

And the big one, the most important award of the year…

Best Kill/Death Scene – Chainsaw Facef**k – Evil Dead 
If that isn’t already a Cannibal Corpse song title, they need to get right on that.  Evil Dead was a divisive movie among horror fans.  In fact, it seemed to split them right down the middle, just like a chainsaw would a deadite’s head.  The glorious splatterfest had a bevy of great kills, but this long, loving bisection (complete with a nod to Ash and a roaring fire in the background) got the theater cheering and applauding more than any other at the screening I went to.  Rarely have I seen my favorite power tool put to such good, and messy, use.  The saw is family. 

Runners Up: Knife through the cheek – The Seasoning House, Herschel’s Last Grin – The Walking Dead, Eyeball and Genital Mutilation – Play Me, Face Off – Maniac, Family Dinner – We Are What We Are, Nut Cracker – I Spit On Your Grave 2 

Ok, one more thing before we lay 2013 to rest.  Recently I read a couple of reviewers (the kind that get off on ripping stuff to shreds) say that they had a hard time even finding 10 good horror flicks from the last year to make a “best of” list.  I‘m calling bullshit.  On facebook I said that I could easily name 20 flicks I would recommend.  Well, I’ve decided that I can go one better.  You’ve already read my top 10 (HERE and HERE if you’ve been slacking), so here’s a list of 20 on top of that.  That’s 30 flicks from 2013 that I wholeheartedly recommend.  Take that you “I hate everything” jackasses.  Here we go… 

Frankenstein’s Army – A found footage WWII flick?  Yep, and it’s fun as hell.  The last half is like running through a haunted attraction. 

Evil Dead – Put your remake hate away for a minute and just enjoy the gory fun.  Blood, blood, and more blood! 

Lords of Salem – Rob Zombie’s hallucinatory nightmare divided viewers, but if you just give in and go for the ride, I think you’ll dig it.  It even gets better with repeated viewings. 

I Am No One – If you mixed the mechanics of Man Bites Dog with the atmosphere of Henry: Portrait of a Serial Killer, the result would be I Am No One. 

Hidden in the Woods – Sleazy exploitation fun from Chile.  Blood, boobs, cannibalism, drugs, and chainsaws. 

Curse of Chucky – I know it’s heresy, but this just might be my favorite non-comedy Chucky flick.  Why this one didn’t hit theaters is beyond me. 

American Mary -  The Soska Sisters come out swinging with their sophomore effort.  It’s visually stunning and features a great performance from Katherine Isabelle.  

100 Bloody Acres – Keeping Australia on the genre film map with a great horror comedy. 

Gut – Killer indie flick with a great creep factor.  A man is getting snuff films in the mail… and starts recognizing the victims. 

Sightseers – Well written and well acted pitch black comedy from England.  When she agreed to go on a holiday with him, she didn’t know he was a killer. 

Contracted – A sexual encounter at a party leaves a young woman with a bizarre disease.  Nasty infection horror.  Good stuff… just ignore the last two minutes. 

Alyce – What would you do if your victim turned out to not be dead after all?  A nice descent into madness.  Most of my horror chick friends really dug this one. 

You’re Next – A lot of people touted the suspense.  Personally, I think it was one of the best comedies of the year. 

Dead Woman’s Hollow – Atmospheric backwoods/small town horror with some great performances and a killer finale. 

Cool As Hell – The prolific James Balsamo brings his usual gory, irreverent, cameo packed madness to this horror comedy.  Troma-esque in a good way.

The Collective Vol. 6 – Another great collection of themed shorts from Jabb Pictures featuring a short version of “I Am No One” and Brian Williams’ fantastic ‘Play Me.”  What scares the people who scare us? 

Stoker – Creepy thriller from the director who brought you Oldboy and Thirst.  Need I say more? 

Grabbers – Giant octopus monsters are attacking an Irish island and the only way to survive is to get wasted.  Hilarity ensues. 

Hell Baby - Comedy from the minds behind Reno 911 about the birth of the Antichrist.  Way better than it had any right to be. 

No One Lives – Refreshingly old school.  Dumb dialogue, but very little shaky cam, plenty of blood, a couple of nice twists, some creative violence, and even a little gratuitous nudity.

See?  A whole bunch of goodness for you to check out.  Now, on to 2014...

And The Winners Of The You're Next Masks Are...

Ladies and gentlemen, it's time to give away these masks.  Man, a LOT of you wanted these.  Before I give them away, however, I need to remind you to follow the directions on these contests.  Quite a few entries got deleted because they either had no address or they didn't answer the trivia question.  The answer, by the way, was Home Sick.  Then, I had someone win and then get disqualified because they hadn't liked the facebook page.  Pay attention to the eligibility requirements.  I always make 'em easy, but I do check 'em.  

You know, Tiger Mask?  Nevermind.

Ok, lecture over.  Let's see who's gonna be sporting... hey, wait a minute.  Does anyone else get the wrestling connection here?  Of course the sheep mask is similar to the one worn my the bald dude from the Wyatt Family whose name no one can remember, but the other one is a tiger mask.  You know, like Tiger Mask, the legendary Japanese wrestling character that, like, nine dudes have played?  The sound of those crickets tells me that I'm probably the only puroresu fan here.  Moving along.
Anyway, the people whose names were drawn are... you know, I haven't actually seen Home Sick.  It looks pretty good.   I need to find a copy somewhere.  What?  Oh, the winners.  right.  The masks go to...

Benjamen Sager

Cliff Rockwell (I hope to god that's your real name.  If it is, you go thank your parents for that badass moniker NOW.)

and Melinda Krausman

Congratulations guys.  I'll be sending those masks out shortly.  As for the rest of you, stay tuned because I'll be announcing the next giveaway this Friday and this time... we're getting dirty!

Giveaway: You're Next Lamb/Tiger Mask Sets

What do you say we go ahead and get the next giveaway rolling?  This time around I've got 3 sets of the much sought after Lamb and Tiger masks from You're Next.  I may or may not have a couple more to give away later, but you wanna jump on these 'cause I have a feeling they're gonna go quick.  I think I'll conduct this one a little differently than I usually do.  Whether you're looking to display some cool promo items from this damn good flick or complete your Wyatt Family Halloween get-up, here's all you have to do.  First, you have to like the SON OF CELLULOID FACEBOOK PAGE.  Then, email your mailing address (so I know where to send the prizes) and the name of You're Next director Adam Wingard's first feature length flick (so I know you're paying attention) to fromhell13@aol.com.  Make sure you put YOU'RE NEXT GIVEAWAY in the subject line.  On Friday the 13th, I'll randomly pick 3 winners.  Yep, that's all there is to it.  If you haven't seen You're Next yet, what are you waiting for?  It's still playing in theaters everywhere.  If you have seen it, it's worth seeing again.  You can check out my review HERE.  Send me those emails, Cellmates!  And don't worry, I'm not going to do anything nefarious with those addresses...

Celluloid Soapbox: Am I The Only One?

Celluloid Soapbox is a new feature on SOC.  Normally I keep things pretty positive around here.  Every now and then, however, I need to blow off a little steam.  From now on, any time you see the words "Celluloid Soapbox," you'll know that I'm about to launch into an angry tirade about someone or something that I feel is a blight on horror movies or the horror community.  I warn you Cellmates, it's rant time...

As I read reviews of You’re Next, a movie that I enjoyed, I’m noticing something that, in all honesty, has irked me for a long, long time.  There’s an element in that film which illustrates a trend that I feel is a cancer eating away at the heart of modern filmmaking.  It’s something that has all but ruined the fine art of cinematography and threatens to negate the artistry of fight choreography and visual effects in general.  What bothers me most is that I don’t see anyone else mentioning this blight on modern cinema.  I’ve been accused quite a few times of sounding like a broken record about this subject, but as long as it persists, I’m going to call it out.  I’m speaking, of course, about shaky cam and the silence of my fellow shaky cam haters.

As a FFF, Cloverfield gets a pass.

I do have to qualify my hatred a bit.  While I’m not a big fan of most found footage flicks, that’s not what I’m talking about at all.  You see, when the film is shot from the actual perspective of a character in the story, it makes sense.  Even in a movie that’s not a FFF (found footage flick), if we’re supposed to be seeing the action from a character’s point of view, it makes sense.  When the camera is the omniscient cinema gaze of the audience, which is a pretentious, film school way to say that the camera is outside of the action representing the viewer who sees it all, there is no excuse for it to be bouncing around like Mohammad Ali shot it.

I get the theory behind why people do it.  It’s supposed to make the scene seem frantic and intense by not allowing the viewer to get a good look at what’s going on or take in all of the information on the screen.  You know what else that’s a description of?  Poor framing.  Bad camera work.  Crappy directing.  If your camera tricks basically have the same effect as a good old-fashioned Ric Flair thumb to the eye, maybe you shouldn’t do it.  Actually, the real reason a lot of directors employ this technique is to mask their inability to build tension or properly choreograph an action sequence.  Yeah, you heard me.  Most of you use shaky cam because you suck.  Here’s a rule of thumb; if you take 10 screen shots from any scene, you should be able to tell what’s happening in at least 8 of them.  In You’re Next, there were times when you couldn’t even tell what character you were looking at.  Is that really supposed to add realism?  Sorry, but at the first sign of danger I don’t suddenly turn into an epileptic bobble-head.

For those of you who say that it really does lend energy to a scene, I want you to watch this.  In my mind, this is one of the greatest action sequences ever filmed.  It’s from The Wild Bunch.  Just watch…

What did you see?  Motivated camera movement.  Rapid fire editing with expert timing.  Amazing shots.  A truly adrenaline-pumping action sequence.  You know what you didn’t see?  Shaky cam.  Now explain to me again how you need it to convey the intensity of a scene.  Name ONE action sequence where some inept cameradolt is shakin’ it like a Polaroid picture is as effective as that.  Yeah, that’s hat I thought. Make an actual shotlist, hold the damn camera still, and have a little respect for your craft.

I’m well aware that shaky cam is not a new phenomenon.  Hell, its use was being argued in Cahiers du Cinéma decades before I was even the fetus of Celluloid.  The difference is that back then it was used occasionally.  Now virtually every new film I see employs it to some point.  The vast majority of what I watch is horror, so logically that’s where I ‘m assaulted by it the most. Honestly, what percentage of kill scenes in horror flicks from the last 10 years didn’t have shaky cam?  Ten?  Twenty?  It’s a freakin’ epidemic!  The first time I really noticed it was in 28 Days Later, a film that many consider a modern horror classic.  I can’t stand it.  I remember leaving the theater and saying “why the hell did they spend money on good zombie makeups and not even let us get a good look at them?

Chernobyl Diaries, a definite shaky cam offender.

Shaky cam action/chase/kill sequences aren’t even the biggest offense.  What makes my blood really boil is when nothing is happening and the camera is wobbling.  Even if you subscribe to the argument that shaky cam helps action, what’s the excuse for that?  If two people are having a calm conversation, the camera should not be bobbing and weaving.  That’s just bad camera work.  You used to get  fired if you couldn’t hold the damn camera still. Now it’s a prerequisite.  If you want to shoot hand-held, find someone who can do it well.  Otherwise, bite the bullet and get a tripod.  Don’t tell me it’s a budgetary constraint.  You can get one at Walmart for twenty bucks.

Don’t get me wrong; there are rare occasions when shaky cam can be effective in the hands of a skilled craftsman.  There’s shaky cam in Dr. Strangelove.  It fit the gimmick of Natural Born Killers perfectly.  The Cohen Brothers use it with varying results.  The opening battle scene of Saving Private Ryan is brilliant.  Kinji Fukasaku used it in almost all of his movies, from the underrated Battles Without Honor and Humanity to the landmark Battle Royale.  Then again, shaky cam also caused his prostate cancer.  No, seriously.  It actually says so on his Wikipedia page.  Look it up.  You can always trust Wikipedia, right?  Anyway, the difference is that they used it to flavor already great films/scenes.  Take the Saving Private Ryan scene for example.  The shots themselves, the editing, the sound design, the performances; they were all great without the shaky cam.  It wasn’t the driving idea behind the look or action.  In far too many scenes these days, shaky cam is the only thing it has going for it.  If the camera was still, it would look like shit.  Then again, there are some otherwise great scenes that are ruined by it.  I guess what I’m saying is that it can be good as an occasionally used tool.  The problem is, it’s the only thing in a lot of filmmakers’ toolkit. In cases like Michael Bay, shaky cam is a lame-ass tool weilded by a lame-ass tool.  I couldn’t resist that one.

Maybe I’m just behind the times and just not down with the way movies are made these days.  Am I just an old schooler yelling at those damn kids on my lawn?  I mean, people in the 30’s said James Whale was destroying the art form by moving the camera too much. Today, film buffs, including me, consider him a visionary.  In his heyday, people said Mario Bava’s swooping, flowing, fluid camera work would make people sick.  The maestro’s camera acrobatics are a far cry from the quease inducing extent it’s gone to now.  These days there are filmmakers who build an entire career out of looking like their cameras are mounted on jackhammers.  And NO ONE calls them on it.  That’s how bullshit like Battle Los Angeles happens. 
Side note, I'm not even taking into account all of the issues raised by movie goers who are susceptible to motion sickness.   That's a whole different can of worms.  I'm just arguing for those who, like me, are sickened by crappy craftsmanship on the screen.

So I guess my question is this… am I the only one who loathes third person shaky cam?  I never see it mentioned in reviews, and I can’t help but wonder why.  Do you truly think it’s an effective cinematic technique?  Do you just ignore it?  Have you just accepted that it’s the way things are and there’s no point in bitching about it?  Is there a widespread Parkinson’s outbreak among cameramen and I’m just being an insensitive asshole?  These are not rhetorical questions, Cellmates.  I implore my fellow movie fans to sound off.  I want to know what you think about this.  If you’re sick of it like me, let’s take shaky/wobble cam to task.  Let’s do our best to drive it back to the cinematic hell it came from.  If you’re not, please enlighten me as to the style’s merit.  In the meantime, I’m going to keep the horror world accountable.  Edmund Burke once said “All that is necessary for the triumph of evil is that good men do nothing.”  Shaky cam is a true evil (and not in a good way) threatening the artistic medium I love.  As long as hack filmmakers use it to hide laziness and good filmmakers kowtow to the trend, I’m going to do the only thing I can… continue to be the lone voice crying out in the wilderness.

Violence of the Lambs: A Review of You're Next

SPOILER ALERT:  It’s virtually impossible to review this flick without giving away one major surprise.  It’s not a surprise in the plot.  You know me, that’s not how I roll.  It’s actually a spoiler as to the nature of the film itself.  Other reviews have spoiled that surprise already, but I think it’s only fair to let you know ahead of time.  It probably wouldn’t effect your enjoyment of the flick, but if you want to go in completely blind you may want to hold off on reading this review until after you see the movie.  There.  Now you know.  I don’t wanna hear anyone bitching later.

When I first saw the trailer for You’re Next, featuring the masterful musical choice of Lou Reed’s song Perfect Day, I thought I knew what the flick was going to be.  I was expecting just another entry in the recently very popular home invasion subgenre.  A different, hopefully better, take on The Strangers’ formula.  Little did I know that the film’s promotion had pulled a fast one on me.  I was expecting gritty violence.  What I got was gritty violence and… laughs.  Lots of them.  You’re Next, a movie I expected to be a run of the mill survival horror flick, turned out to be the best horror comedy so far this year.

Synopsis: When a gang of masked, ax-wielding murderers descend upon the Davison family reunion, the hapless victims seem trapped...until an unlikely guest of the family proves to be the most talented killer of all.

All too often with horror comedies, the delicate balance between the two elements is mishandled.  You’re Next walks that line well.  The audience at the screening I attended roared with laughter, but the jumpier members of the crowd shrieked a few times too.  The scares and laughs are placed perfectly, setting each other up with expert timing.  As far as the comedy goes, it’s superb.  Writer Simon Barrett has crafted one hell of a screenplay.  It’s not so much poking fun at the genre as it is telling a serious story with funny characters.  The dialogue is great, particularly the interplay between the family members.  If only the bickering at my family reunions could be this entertaining.  While we’re talking about the screenplay, I like that Barrett plays most of his hand early, trotting out the big reveal early and letting it play out slowly.  That was smart.  There are still a couple of twists left (that the astute horror fan will see coming a mile away), but giving away the main one before the audience gets the chance to call it was a good move.

Of course, that screenplay wouldn’t mean a thing without actors who could do it justice.  The cast definitely does well with the material.  AJ Bowden is one of my favorite current genre actors.  Mark my words, one day he will be a cult favorite and will be charging stupid amounts of money for his autograph at conventions. He’s excellent in this flick, but I feel like he was underutilized.  I think he should have played Nicholas Tucci’s role and vice versa.  They’re both very good, but I think that casting switch could have played a little more to both of their strengths.  Rob Moran and horror stalwart Barbara Crampton are splendid (I told you I would bring that word back) as the parents.  The true standout is Joe Swanberg.  I don’t know if he’s a giant bag of douche in real life as certain members of the press have asserted, but he certainly portrays one convincingly.  He gets most of the best lines, and his delivery is on point.  Sharni Vinson also shines but, at this point, the less said about her role the better.

On the horror side of things, we’ve got some well-executed jump scares.  A couple of the particularly enjoyable ones play off of the background/foreground model a-la Halloween.  There’s also some commendable gore.  The best part; it all appeared to be practical in the close ups.  In fact, there’s a refreshing overall lack of obvious CGI in You’re Next.  Other reviewers have lauded the film’s suspense, but I didn’t find that to be the case.  Then again, a movie really has to operate well outside of normal horror tropes to keep me guessing.  From the reaction of the crowd, it appeared that those less jaded than I spent at least some of the movie on the edge of their seats.

There is one huge, glaring problem with You’re Next, though.  I HATED the way it was shot.  Outside of found footage movies, where shaky cam makes sense, this is the most spastically jerky movie I’ve seen in years.  I already hate shaky cam action sequences, but this goes above and beyond.  The camera can’t even hold still when nothing is happening.  There is absolutely no excuse for the camera to be bobbing and swaying during a scene of a couple lying in bed talking.  In the “dinner attack” scene, the camera is jumping so spastically that it’s sometimes impossible to even tell which character you’re looking at.   Director Adam Wingard has been criticized before for his excessive use of the “cameraman with Parkinson’s” technique.  It’s a damn shame too, because there are a handful of sustained shots and slow motion sequences that look fantastic.  I weep for the movie this could have been if it was shot well.  If you’re susceptible to motion sickness, you might have issues with this one.  I don’t have that problem.  I’m just nauseated by crappy filmmaking.

Random Thought #1: One of the creepy animal masks the killers wear is very similar to one worn by a WWE wrestler that debuted recently.  I lost count of the times I heard the name “Wyatt family” spoken in the audience.  Brilliant marketing.  Well-played Vince.

Random Thought #2: I expect to see a lot of lamb masks this Halloween.

Random Thought #3: There are times when an amazing synth score straight out of the 80’s kicks in.  It is truly beautiful.  Retro done right.

Random Thought #4: If I do another edition of The Horror Movie Darwin Awards, there’s one in this flick.

You’re Next was a pleasant surprise.  Usually I complain about misleading advertising, but I like being thrown a curveball now and then.  I laughed the whole way through, either at the wit of the flick or the screams in the audience.  It’s well acted, well written, and well paced.  The only problem is the terrible camera work.  If nonstop shaky cam doesn’t bother you, then disregard that part of the review.  It seriously hampered my enjoyment of the movie.  It certainly didn’t ruin it, however.  You’re Next was a damn good time.  Plus, they get points for using the right form of “you’re.”  A surprisingly fun flick that delivers a lot of chuckles and a few jolts.  7 “creepy sheep” out of 10.  Nathan says check it out.