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We Are Still Here is set in 1979 and focuses on middle-aged married couple Anne (Barbara Crampton, Re-Animator and From Beyond) and Paul Sacchetti (Andrew Sensenig). Following the death of their son Bobby in a car accident they have decided to move home to New England hoping that in doing so they will find some closure. No sooner have they started settling in than spooky things start happening leading Anne to believe that their son's spirit is with them.
Paul is sceptical so Anne calls up her friend May Lewis (Lisa Marie, Burton's Sleepy Hollow) hoping that May's psychic abilities will enable contact with her son. May arrives, bringing her hippie husband Jacob (Larry Fessenden) with her. By now Anne and Paul have met their neighbours who bring nothing but grim news as they hint at the darkness that has occurred in the house prior. Anne and Paul are definitely not alone. Their home is also home to a family of vengeful spirits looking to drag their souls to Hell with them.
Sarah Lind stars as Molly Hartley. Molly has just turned twenty-four years of age and is having a drink with friends, also celebrating becoming a partner at the financial firm she works at. Against her friend's advice Molly decides to continue partying into the night inviting a buff gentleman and an up-for-it party girl back to her's for a threesome.
The next morning Molly is awoken by a couple of police officers following up on complaints of noise from her apartment the night before. Molly is now hearing sounds that are unheard to others. She also has a couple of dead people in her bath tub which the female police officer discovers without feeling the need for a search warrant. One arrest later and Molly is incarcerated in a mental home which just happens to be the very same that disgraced Father John Barrow (Devon Sawa, Final Destination) has been placed following a botched exorcism.
The infamous bloodsucker is back and ready to suck on four English travellers – two brothers and their wives - that are frankly begging to be just another Dracula statistic. Unfortunately for the viewer, help comes in the shape of the bulky and antagonistic Father Sandor and soon a race is on to prevent old pointy teeth from sinking into the tender neck of drippy Diana Kent, whose husband is spookily called Charles!
In a marketplace saturated by needless sequels and prequels it still comes as a shock to realize that this is not actually a recent phenomena and that in fact dismal sequels and quick cash-ins have always had a place in film production house's hearts. Hammer's Dracula: Prince of Darkness is one such early template finding a desperate means in which to resurrect the main man after being polished off by Peter Cushing's Van Helsing many years before, then have him play support to a lot of daft characters who run around and do things that frankly only people with the I.Q. of the average Big Brother contestant would ever consider a sound idea.
Roll up! Roll up! Roll up for the greatest show on Earth!
It's 1947. England. Witness as naughty old plastic surgeon Dr. Rossiter (Anton Diffring) changes his identity to hide from the police following a bodged, illegal operation he has performed! Gasp as he starts a new life in France under the name of Dr Bernard Shuler with his too-keen-to-please assistants (Griffith and Hylton). And scream as he takes ownership of a failing circus after watching its previous owner Vanet (Donald Pleasance) be mauled by his own bear!
Using the circus as a means to continue his plastic surgery he takes criminals (deformed or otherwise) under his wing, altering their visage and turning them into circus performers. However whenever one of them threatens to leave, Shuler / Rossiter arranges for them to die via an arranged 'accident' which brings the circus to the attention of a reporter and Scotland Yard.
With Hammer enjoying some success by upping the gore and sexual content in their movies, other film companies were keen to eat into that box office pie. Director Sidney Hayers' Circus of Horrors was one such product. Indeed so extreme was the content considered at its time of release that the movie was one of three British horror movies produced by Anglo-Amalgamated that was dubbed by film critic David Pirie as the 'Sadian Trilogy' (the other two movies are Peeping Tom and Horrors of the Black Museum - both 1959). The content may have been taboo at the time but its all old hat now, although none-the-less entertaining for it.
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- We Are Still Here (2015) Review
- The Exorcism of Molly Hartley (2015) Review
- Dracula: Prince of Darkness (1966)
- Circus of Horrors (1960) Review
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