When a beautiful ballerina dancer, Adriana Mena (Kendra Carelli), lands the lead role in the upcoming Nutcracker performance, she's forced to face her demons as jealousy and tension begin to provoke the supernatural.
Belladonna is a monster film based around the "Lamia" in ancient Greek Mythology. With tones of Giallo films of the past, Belladonna tells a story of a once child-eating snake, who has found a way to stay hidden in the modern world.
Sol, a charming fugitive with a robotic arm, crashes through a vast desert empire filled with deadly larger-than-life enemies on his quest for revenge. His only chance of survival is with ... See full summary »
Michael Ryan Hahn
Tristan James Butler,
Through the eyes of Angie comes a film that will make you stop and really think about sex. Angie is a prostitute, a chameleon - a butterfly. As she reveals herself, layer-by-layer, she also exposes the man who is interviewing her.
This thriller from directors Dale Fabrigar and André Gordon concerns two couples who decide to marry on the same day - readily anticipating the most joyous event of their young lives. All ... See full summary »
C. Thomas Howell,
In this final installment, the Ninjas and their friends find themselves pitted against the most evil and memorable monsters of them all - Dracula, Frankenstein, the Mummy, the Werewolf, and... See full summary »
An updated twenty-first century version of Emily Bronte's "Wuthering Heights", set in modern day Malibu, California, where the wealthy Earnshaw family adopts Heath, a troubled teenager. The... See full summary »
Esther Harrison has it good and got exactly what she wanted in life; steady income two kids and a loving husband but, when a dark figure from her past comes calling, it reveals a secret that will change everything.
M. Shawn Cunningham
Amanda DoSsa Doss,
Akilah N. Kamau
After having a stone thrown at her head, Marla learns as a child that the opposite sex can be very hurtful. Many years later she meets and falls in love with Robert. Little does she suspect that he is the stone thrower from her past.
A young woman who appears to be a zombie sits with a gun in a room full of corpses. Cara Carter describes how her father, Dr. Ben Carter, decided to bring his dead wife back from the dead. Naturally, in the process of trying out his formula he manages to create a ton of zombies. His daughter gets exposed to the drug, but it has an unusual effect on her as she retains her intelligence and emotions. Of course, the zombie plague soon starts to spread. The bites, quite naturally, are infectious. With law enforcement seemingly hopeless dumb, is there any hope of survival?Written by
After a zombie virus takes hold a group of people try to find a cure and stay alive.
Bombshell Bloodbath is the perfect quintessential homage to the late 70s and early 80s countless churned out VHS horrors and banned video nasties. Brett Mullen and writer Sky Tilley cleverly offer a mash-up of horror ideas borrowing from the best of the worst and best of the best including Dawn of the Dead, The Beyond, The Evil Dead to name a few.
Bombshell Bloodbath is purposely all over the place with its tone harking back to the good old days of horror and grind house cinema. Moody voice overs, dramatic mad scientist, experiments with rats, tape recordings, seedy strip clubs, cabins in the wood and zombies tearing flesh and more.
The flesh eaters mostly bookend the film with the actors emulating the days of Neon Maniacs, Nightmare City and the countless horror performances alike. Samantha Mills it great as the mysterious blonde bombshell, Cara is wonderfully played by Alex Elliott in amongst the great practical effects and archetype camera angles of Italian exploitation films, like the Barbarians, Rats and Hell of the Living Dead. The music is the icing on the cake for nostalgia hounds and new fans of the old sub-genre horror with composer Matt Hill channelling the likes of Fabio Frizzi and Goblin.
Bombshell Bloodbath does what House of the Devil recreated for old school horrors, this revisits the atmosphere and execution of horror exploitation films.
If there ever was an indie love letter written to Fulci, Romero, Argento and Lenzi, it would look something like this.
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