DEATH COUNT (2022) – Movie Review

By Andrew Buckner

Rating: **** out of *****.

Death Count (2022), from director Michael Su and screenwriter Michael Merino (with revisions by Rolfe Kanefsky), is a lean, efficient, captivating, and grisly take on Saw (2004) style horror pictures. After a visually bravura and claustrophobic commencing acknowledgements segment, Su’s offering even begins in a related manner to James Wan’s previously stated masterpiece. Continually, there is an explicit mention of Saw, as well as the narratively similar Hostel (2005) from director Eli Roth, in one sly late first act sequence. It involves a montage of news reports. Aside from being an opportunity to address the oft-utilized theme of the operation, the sadistic underbelly of The Internet, this short episode is also a refreshing nod to the photoplays from which it evokes motivation. The presence of Costas Mandylor, who deftly enacted Detective Lieutenant Mark Hoffman in Saw III (2006) through Saw: The Final Chapter (2010) and just as capably depicts the wonderfully ominous Warden in Su’s latest effort, greatly enhances this correlation.

Michael Madsen, who magnificently portrays Detective Casey, delightfully offers his gruff, commanding charm to the material. His bits of dark humor also pepper the proceedings. Yet, none of these items are employed so frequently that they take away from the superbly fashioned and anxiety-fueled tone of the enterprise. The beautifully orchestrated mood of the article skillfully permeates the appropriately brisk 81-minute attempt from the initial frame to the last.

The story concerns a group of eight strangers who find themselves in a foreign environment. They are isolated in holding cells and cannot recall how they got to be in such a situation. Their conditions become even more dire when the frightful Warden announces that they are being forced to play a deadly game. It is one which involves getting the most “likes” on social media. This is achieved by partaking in violent escapades, all of which have a ten-second time limit per unwilling contestant, that revolve around self-harm.

It’s exactly the type of plot one would expect from a tale of this ilk. The characters are also familiar archetypes. The exposition and general development they are handed is satisfactorily dispersed yet garden variety. Even the inevitable climactic reveal of why these individuals were gathered and how they are connected follows suit. The dialogue the central figures are handed is sharper and more successful. Nonetheless, it still falls under the banner of what spectators foresee from such an outing.

Notwithstanding, the film is relentless in terms of its taut pacing and same said tension. The project expertly erects its setup in the initial ten minutes of the venture. From herein, it imaginatively crafts increasingly macabre ordeals for our leads to endure. The account is just as creative in its plentiful and exceptionally well done gory bits. A courtesy of the confident guidance of the vehicle from Su, the solid script, and the all-around high-caliber performances in the construction, the suspense rarely wavers. It is smoothly concocted from the engaging and enigmatic opening to the grimly gratifying conclusion. The latter cleverly hints at a potential sequel.

What is just as impressive is the fascinating way in which the affair combines numerical, literary, and sonic clues which may aid in the contributors’ survival in the second half of the fiction. The quickness and unpredictability with which most of the cast gets slaughtered in the mesmerizing first act is just as noteworthy. Such measures create a welcome balance to the more routine beats of the composition. It also makes the endeavor far more palpable in the nerve-shredding anticipation it brilliantly builds.

From a technical perspective, the work is equally stalwart. The cinematography from Su and music from Scott Glasgow is atmospheric and immersive. I especially enjoyed the incorporation of the fitting track from Psycho Synner, the Jeremy Spencer and Shawn McGee penned “The Torture Never Stops” (2021), during the enthralling end credits. Moreover, the editing from Jeremy Wanek, costume design by Joe Lujan, sound, makeup, stunts, and effects are all outstanding.

Also identified as Numbers, Death Count is a scrappy, in-your-face midnight movie. It isn’t as groundbreaking as the features from which it derives inspiration. Regardless, it will assuredly please those of us who are always frantically searching for a stellar dose of grueling cinematic terror. A Mahal Empire, Mezek Films, and Blaen-Y-Maes Bootleg Films production, Su’s exercise is twisted fun. It’s also one of the best genre undertakings of the year.

Death Count will be released in North America on July 19th, 2022.

The 35 Best Albums/EPs of 2022 (So Far)

By Andrew Buckner

*All albums and EPs included in this list are incorporated herein based on an original release date in 2022.

35. Sad Girl Blues (EP) by Lauren Brabson

34. Back in Black by Cypress hill

33. Dawn FM by The Weeknd

32. Ramona Park Broke My Heart by Vince Staples

31. Driplomatic Immunity by 183rd, Nym Lo, Smoke DZA

30. Get Well Soon by King ISO

29. It’s Almost Dry: Pharrell vs. Ye by Pusha T

28. The Brave by Tom MacDonald, Adam Calhoun

27. The Gospel According to Nikki Giovanni by Javon Jackson

26. Mood Swings (EP) by Real Bad Man, Smoke DZA

25. The Three Fantastic Supermen EPics (EP) by Killah Priest

24. SICK! by Earl Sweatshirt

23. Mr. Morale & the Big Steppers by Kendrick Lamar

22. Onyx versus Everybody by Onyx

21. Peter by Bizarre

20. Firestarter (Original Motion Picture Soundtrack) by John Carpenter, Daniel Davies, Cody Carpenter

19. Super Beast by Madchild

18. Skylar Grey by Skylar Grey

17. Continuance by Curren$y, The Alchemist 

16. Sometimes Y by Yelawolf, Shooter Jennings

15. Tana Talk 4 by Benny the Butcher

14. God Don’t Make Mistakes by Conway the Machine

13. Saturday Afternoon Kung-Fu Theater (EP) by Rza, DJ Scratch

12. No Fear of Time by Black Star

11. Medicine at Midnight by Foo Fighters

10. Zhigeist by Elzhi, Georgia Anne Muldrow

9. Detroit Life 2 by Swifty McVay

8. Renaissance Kings by The Snowgoons

7. Forever by Phife Dawg

6. 1993 by Onyx

5. Czarmageddon! by Czarface

4. Aethiopes by Billy Woods

3. Sentimental Ballad by Teagan Johnston

2. Horrah Scope by Killah Priest

1. I M A M C R U 1 2 by Krs-One

“Fight or Play Basketball” (2022) by Mike Messier (Book Review)

By Andrew Buckner

Rating: ****1/2 out of *****.

Clocking in at a lean 158 pages, Fight or Play Basketball: every shot counts (2022) by filmmaker Mike Messier is a knockout novel. The 44-chapter project is a lot like the lead of the narrative, Jack Scratch. It’s authentic, scrappy, wide-eyed, ambitious, and filled with heart. Moreover, the exercise is elevated by the lively, clear, vivid, and to-the-point prose from Messier. Just as importantly, his paragraphs are never overwhelmed with unnecessary details or figures of speech. In short, his writing is perfect for a young adult audience. The pacing of the work is similarly brisk, efficient, and effective. There isn’t a single excessive or overlong sequence in the effort.

What also enhances the quality of both Messier’s auteurship and the piece overall are the sharply rendered central figures. For example, Scratch is a flawed yet likable and occasionally comedic high school senior that spectators of all ages should find relatable. Scratch’s energetic and defensive mother, Janet Trap, is a constant source of amusement in the fiction. The same can be said of the boxers which assist Scratch on his journey, Karl “Sweet Sugar” Brown and Paveli “Punch” Pangora. They offer elements of humor, inspiration, personality, and leadership to the material. There are even sparks of romance as the duo attempt to win over Trap. Scratch’s basketball coach, “Quick” Rick Steele, is comparatively more garden variety. Nonetheless, he is still a credible and wonderfully developed entity with a pivotal role in Scratch’s life. Such is the case with everyone in the undertaking. In so doing, Messier’s tapestry of realistic dialogue, situations, and characters, as well as their influence on one another, accentuates the richness of the design.

The plot revolves around Scratch: a player of immense skill on the North Providence Cougars basketball team. He has the potential to receive a scholarship from Providence College. There are even whispers that he may be chosen to become involved with the National Basketball Association. His daily muscle-building routines, such as riding his bike in the mornings through North Providence and shooting hoops in the nearby outdoors basketball court, have become a sturdy foundation for him. One morning, his single mother, Trap, is the victim of a failed robbery. The individuals who came to Trap’s rescue during this botched crime, Pangora and Brown, begin to assist Scratch with his boxing abilities at Sweet’s Sweat Box Gym, where they are prominent trainers. As Scratch fosters his abilities on the basketball court and in the boxing ring, he ponders if he should “fight or play basketball”.

Even if the article follows the familiar beats of related items, Messier does a brilliant job of reiterating Scratch’s title-referenced deliberation. Messier specifically addresses where this idea came from in the fascinating “About the Author” section at the end of the tome. Still, there is an intimacy to this inquiry, like all rulings that alter the course of our lives, that is universally relevant. What augments this thoughtful touch, which is so delicately composed throughout the entirety of the volume, is the organic manner with which Messier also taps into the inherent symbolism of this weighty choice.

Boosted by superb cover art design from Nadine G. Messier, which nicely evokes the classically gritty atmosphere of the arrangement, Fight or Play Basketball proudly wears its Rocky (1976) inspiration on its sleeve. This is spied in many of the explicit and indirect references to director John G. Avildsen’s academy-award-winning masterpiece, as well as connected fare, that pleasantly permeate Messier’s opus. Lovingly peppered into the proceedings, these welcome bits align beautifully with the events of Scratch’s story. They also deeply pleased the rampant cinephile in me.

Opening, continuing, and closing in equally strong ways, the latest literary achievement from Messier is excellent on all fronts. True to the spirit of the greatest sports chronicles, it is incessantly entertaining and genuinely motivational. It has a tough edge. However, it is a kind, joyous, and immersive read. Likewise, it doesn’t fully give into the tropes which are anticipated in its finale. The flirtatious relationship between Mindy Kim and Scratch, who bond over their shared interest in athletics, punctuates the emotional accessibility of the venture. It also makes the thematically time-tested yet sturdy construction even more layered. In turn, Messier has crafted a magnificent and passionate coming-of-age drama. It’s one of the best books of the year.

You can purchase Fight or Play Basketball in eBook, hardcover, or paperback format at the following link:

Andrew Buckner’s 100 Favorite Feature Films of 2020

By Andrew Buckner

*This list is dedicated to the many theaters that were closed or permanently shutdown this year due to the COVID-19 pandemic. Without your ever-comforting presence a pivotal part of the one-of-a-kind artistry, understanding, and universal joy inherent in the cinematic experience will be forever erased.

*Please note that the inclusion of the films in this list are based on an initial 2020 U.S. release date.

100. Cadaver
Director: Jarand Herdal.

99. Nobody Sleeps in the Woods Tonight
Director: Bartosz M. Kowalski.

98. Vampires vs. the Bronx
Director: Osmany Rodriguez.

97. Unhinged
Director: Derrick Borte.

96. Nocturne
Director: Zu Quirke.

95. Have a Good Trip: Adventures in Psychedelics
Director: Donick Cary.

94. His House
Director: Remi Weekes.

93. The Phenomenon
Director: James Fox.

92. Notzilla
Director: Mitch Teemley.

91. May the Devil Take You Too
Director: Timo Tjahjanto.

90. Impetigore
Director: Joko Anwar.

89. Relic
Director: Natalie Erika James.

88. The Rental
Director: Dave Franco.

87. Dead Life: Wormwood’s End
Director: William Victor Schotten.

86. Antebellum
Directors: Gerard Bush, Christopher Renz.

85. Host
Director: Rob Savage.

84. The Mortuary Collection
Director: Ryan Spindell.

83. The Honeymoon Phase
Director: Phillip G. Carroll Jr.

82. Skyman
Director: Daniel Myrick.

81. Bill & Ted Face the Music
Director: Dean Parisot.

80. Tesla
Director: Michael Almereyda.

79. Porno
Director: Keola Racela.

78. Save Yourselves!
Directors: Alex Huston Fischer, Eleanor Wilson.

77. Cut Throat City
Director: RZA.

76. Alone
Director: John Hyams.

75. Elephant
Directors: Mark Linfield, Vanessa Berlowitz, Alastair Fothergill.

74. Close Encounters of the Fifth Kind: Contact Has Begun
Director: Michael Mazzola.

73. Why Don’t You Just Die!
Director: Kirill Sokolov.

72. An English Haunting
Director: Charlie Steeds.

71. The Gentlemen
Director: Guy Ritchie.

70. VFW
Director: Joe Begos.

69. First Love
Director: Takashi Miike.

68. Extra Ordinary
Directors: Mike Ahern, Enda Loughman.

67. Bit
Director: Brad Michael Elmore.

66. Gretel & Hansel
Director: Oz Perkins.

65. #Alive
Director: II Cho.

64. The Invisible Man
Director: Leigh Whannell.

63. Come to Daddy
Director: Ant Timpson.

62. Snatchers
Directors: Stephen Cedars, Benji Kleiman.

61. We Summon the Darkness
Director: Marc Meyers.

60. 1BR
Director: David Marmor.

59. The Lodge
Directors: Severin Fiala, Veronika Franz.

58. Time Warp: The Greatest Cult Films of All-Time Volume 1 Midnight Madness
Director: Danny Wolf.

57. Comic Book Junkies
Directors: Lenny Schwartz, Nathan Suher.

56. Sputnik
Director: Egor Abramenko.

55. Tigertail
Director: Alan Yang

54. A Secret Love
Director: Chris Boln.

53. Far from Perfect: Life Inside a Global Pandemic
Directors: Lenny Schwartz, Nathan Suher.

52. Blow the Man Down
Directors: Bridget Savage Cole, Danielle Krudy.

51. Uncle Peckerhead
Director: Matthew John Lawrence.

50. Rent-A-Pal
Director: Jon Stevenson.

49. The Platform
Director: Galder Gaztelu-Urrutia.

48. Scare Package
Directors: Courtney Andujar, Hillary Andujar, Anthony Cousins, Emily Hagins, Aaron B. Koontz, Chris McInroy, Noah Segan, Baron Vaughn.

47. Bacurau
Directors: Juliano Dornelles, Kleber Mendonca Filho.

46. Scare Me
Director: Josh Ruben.

45. The Hunt
Director: Craig Zobel.

44. Da 5 Bloods
Director: Spike Lee.

43. Possessor Uncut
Director: Brandon Cronenberg.

42. Time
Director: Garrett Bradley.

41. The Vast of Night
Director: Andrew Patterson.

40. Frank & Zed
Director: Jesse Blanchard.

39. The Swerve
Director: Dean Kapsalis.

38. The Trial of the Chicago 7
Director: Aaron Sorkin.

37. First Cow
Director: Kelly Reichardt.

36. The Social Dilemma
Director: Jeff Orlowski.

35. The Assistant
Director: Kitty Green

34. Vivarium
Director: Lorcan Finnegan.

33. Emma.
Director: Autumn de Wilde.

32. Strapped for Danger II: Undercover Vice
Director: Richard Griffin.

31. Family Romance, LLC.
Director: Werner Herzog.

30. The Assassination of Western Civilization
Director: Nathan Suher.

29. Seeds
Director: Skip Shea.

28. Before the Night is Over
Director: Richard Griffin.

27. Rewind
Director: Sasha Joseph Neulinger.

26. The Other Lamb
Director: Malgorzata Szumowska.

25. Color Out of Space
Director: Richard Stanley.

24. Planet of the Humans
Director: Jeff Gibbs.

23. Totally Under Control
Directors: Alex Gibney, Ophelia Harutyunyan, Suzanne Hillinger.

22. Shirley
Director: Josephine Decker.

21. Vote Motherf***er
Director: Lenny Schwartz.

20. Swallow
Director: Carlo Mirabella-Davis.

19. Beastie Boys Story
Director: Spike Jonze.

18. Fulci For Fake
Director: Simone Scafidi.

17. Gremlins: A Puppet Story
Director: Chris Walas.

16. Circus of Books
Director: Rachel Mason.

15. Happy Happy Joy Joy: The Ren & Stimpy Story
Directors: Ron Cicero, Kimo Easterwood.

14. Cleaning up the Town: Remembering Ghostbusters
Director: Anthony Bueno.

13. Borat Subsequent Moviefilm
Director: Jason Woliner.

12. Hamilton
Director: Thomas Kail.

11. Crip Camp: A Disability Revolution
Directors: James Lebrecht, Nicole Newnham.

10. Spaceship Earth
Director: Matt Wolf.

9. Luz: The Flower of Evil
Director: Juan Diego Escobar Alzate.

8. I’m Thinking of Ending Things
Director: Charlie Kaufman.

7. Tommaso
Director: Abel Ferrara.

6. Slay the Dragon
Directors: Chris Durrance, Barak Goodman.

5. Never Rarely Sometimes Always
Director: Eliza Hittman.

4. Beanpole
Director: Kantemir Balagov.

3. Sister Tempest
Director: Joe Badon.

2. The Painted Bird
Director: Vaclav Marhoul.

1. Portrait of a Lady on Fire
Director: Celine Sciamma.

A Word of Dreams’ 40 Favorite Films of 2019 (So Far)

By Andrew Buckner

*Please note that the films included in this list are based on a 2019 U.S. release date.

Director: Michael Melski.

Directors: Chris Renaud, Jonathan del Val.

Director: Grant Sputore

Directors: Ashim Ahluwalia, Can Evrenol, Severin Fiala, Veronika Franz, Katrin Gebbe, Calvin Reeder, Agnieszka Smoczynska, Peter Strickland, Yannis Veslemes.

Director: Richard Shepard.

Director: Tony Newton.

Director: Laure de Clermont-Tonerre.

Director: Stacie Passon.

Director: A.T. White.

Director: Adam Robitel.

Director: M. Night Shyamalan.

Director: Michael Dougherty.

Director: James Cullen Bressack.

Director: Nicolas Pesce.

Directors: Alastair Fothergill, Jeff Wyatt Wilson.

Director: Robert D. Krzykowski.

Director: Cody Meirick.

Director: Nicholas McCarthy.

Director: Mary Harron.

Director: Emma Tammi.

Director: Jordan Downey.

Director: Joe Penna.

Director: Jonas Akerlund.

Director: S. Craig Zahler.

Director: Mimi Leder.

Director: Joe Berlinger.

Director: Rachel Lears.

Director: Henry Dunham.

Director: Terry Gilliam.

Director: Dan Gilroy.

Directors: Pella Kagerman, Hugo Lilja.

Director: Chiwetel Ejiofor.

Directors: Cristina Gallego, Ciro Guerra.

7. APOLLO 11
Director: Todd Douglas Miller.

Director: Barry Avrich

Director: Gaspar Noe.

4. US
Director: Jordan Peele.

Director: Florian Henckel von Donnersmarck.

Director: Peter Jackson.

Director: Jean-Luc Godard.

“Pitchfork” – (Movie Review)

By Andrew Buckner
Rating: **** out of *****.

In Pitchfork (2017), the ninety-four-minute full-length feature debut from director and co-writer Glenn Douglas Packard, great strides are taken to align the title entity to the notorious razor gloved killer from Wes Craven’s seminal classic Nightmare on Elm Street (1984), Freddy Krueger. This is most evident in a beautifully realized moment near the half hour mark. Here Packard’s antagonist pauses, visibly relishing the adrenaline rush of hunting his next victim, at the top of a flight of basement steps. His shadowy frame is unmistakably reminiscent of that of Craven’s creation. The parallel is further complete as Packard’s fiend holds the murderous farm tool of his moniker to his right side. This is much as Krueger did when stalking uncountable teens in the aforementioned series. There is also a third act instant where Packard’s uniquely designed antagonist splays his instrument of death against a set of boards as he slowly walks by. Such a measure causes sparks to fly from the place of impact. This was another common Krueger taunting action. Such an instant happened several times throughout the eight (or nine if you count the inane 2010 remake) exertions in the Craven commenced franchise.


Episodes such as these only enhance the consistently high amusement value of Packard’s Clare and Houghton Lake, Michigan recorded construction. Likewise, Packard and accompanying co-producer Darryl F. Gariglio deliver a solidly wrought screenplay. It is structured, characterized and paced much in the manner of the pantheon of prior efforts in the slasher sub-genre. Furthermore, Gariglio captures every one of the various tropes established in these cinematic undertakings. Given that this is a source of pride for fellow fanatics of these types of tales, this trait comes off as knowing and respectful to the foundation laid down by these past horror entries. This also adds to the lively, playful fun inherent in the first hour. When the picture takes on an ever darker, almost sadistic tone in the concluding section, it seems to be sending-up an entirely different classification of terror opus. This is that of the so called “torture porn” productions. These were given mainstream popularity in the early 2000’s. Such occurred with the arrival of James Wan’s genre-redefining Saw (2004) and Eli Roth’s imitative Hostel (2005).


Still, this late segment succeeds just as well as what came beforehand. This is because it provides Packard plenty of opportunities to showcase his aptitude for providing extended sequences of prolonged intensity. For example, the events encapsulating the final twenty minutes are a masterclass in this arena. Packard wrings claustrophobia from a situation that is as tried and true as much of what came prior. This is as much a testament to the caliber and commitment of the performances as it is Packard’s own work. For example, Daniel Wilkinson is terrific as the murderous antagonist (also referred to as Ben Holister Jr.). His portrayal is, common to the modern fright film, based more on movement and demeanor than articulation. This is a long proven and effective means of conveying the antihero in these types of undertakings. It also makes the proceedings more enjoyable. This is as it calls to mind another iconic terror show entity: Jason Voorhees. Similarly, the rest of the cast is just as captivating. Brian Raetz as our lead, Hunter Killian, Lindsey Nicole as Clare, Ryan Moore as Matt and Celina Beach as Lenox deliver vibrant, watchable enactments. The same can be said for Nicole Dambro as Flo, Keith Wabb as Rocky, Sheila Leason as Janelle and Vibhu Raghave as Gordon. Rachel Carter as Judy Holister (or “Ma”) and Andrew Dawe Collins as Ben Holister Sr. (or “Pa”) present gritty, unflinching portrayals in their respective turns. Like the rest of the players, Carter and Collins are relishing their depictions. The evident fun these two are with their particularly ravenous illustrations only magnifies that illuminated on-screen.


Packard chronicles Hunter facing his parents for the first time after telling them a long held personal secret. Nervous about such an encounter after divulging such highly personal information, he organizes a group of close friends. Their mission is to arise from New York to the farm where he was raised. Seeing this as a chance to party, Hunter’s close accomplices turn his mother and father’s barn into a celebration of music and conversation. But, this happiness soon fades. What our thrill seeking, care free spirits didn’t count on is the fiend connected to the bygone days of our central youngsters. He has come to turn the laughter and joy into bloodshed.


The plot is kept deliberately straight-forward and simple. Yet, it is perfect for a vehicle such as what Packard has expertly crafted here. The dialogue retains this same attribute. The collection of scenes that erect the get-together in the outbuilding are undeniably well-done. They project the merriment our protagonists are elucidating ingeniously. A dance number which transpires herein is where this radiant joy is most significant. But, Pitchfork succeeds in a category pivotal to this specific brand of photoplay. This is in its plethora of imaginative kills. Best of all, they do not need a heavy reliance on gore to be considered striking. A double slaughter near the halfway point is especially creative. It also stunningly balances its alternately playful and brutal tone. The opening five-minute segment is especially attention-garnering. Not only does it start things off brilliantly, but it also is a tremendous showcase of Rey Gutierrez’s moody, gloriously fashioned cinematography. A riveting, intimate shot which seems as if the camera is quickly moving through the fields in this early section is definitive proof of such a statement. Additionally, Gutierrez and Kristin Gerhart issue editing that is sharp and stalwart. Christie Beau’s original music is phenomenal. It is atmospheric and haunting in equal measure. J. Cullen Humphreys’ set decoration and Veronica Porras’ wardrobe department contribution adds to the everyday authenticity apparent throughout the labor. Danielle Montini, Timothy Montoya, Cassie Packard, David Root, Emily Sigler and Carrie Stalk create a camera and electrical team whose wonderful, proficient input guides every frame. Tim Alward, Patrick Busby, Michael Capuano, Evan Menak and Harryson Thevenin evoke masterful sound. Moreover, Joshua Romeo’s various stunts are proficiently and credibly executed. The result is easy to admire endeavor. It is one that is as naturally likable as the personalities we follow in the affair.


Distributed through Uncork’d Entertainment, Pitchfork ascribes to be among the ranks of the Nightmare on Elm Street and Friday the 13th series. In so doing, it proves itself as more than worthy. Though it holds a bit too closely to the traditions of former offerings of its ilk to be a true groundbreaker, the enjoyment inherent throughout never wavers. This is a decidedly old-fashioned voyage into fear. It is one that is devoid of much of the gimmicks or unyielding seriousness present in far too many modern attempts at trepidation. This factor alone makes the application recommendation worthy. But, it is remarkable on both a technical level. Everyone involved does spectacularly with their individual tasks. Likewise, it ends with a smirk-inducing note. It is one which cryptically hints at all the details of the tale left to be told. This is while simultaneously forcing us to reanalyze everything we thought we knew previously. It is a perfect set-up for a sequel; an unspoken promise I hope Packard and crew make good upon. As it is, this is a fantastic inauguration to a franchise that promises to be described in the same manner. This stands as an incredible reminder of what made me initially admire celluloid shock. More than anything, it gloriously exhibits the timelessness of these items. In turn, it also validates how they retain their enduring appeal. Packard has unleashed an instant classic; an outstanding new boogeyman to haunt the dreams of a generation.