Goon Review: Jackals (2017)

(Submitted by Mr. Andrew Peters…Sincere thanks and hugs, Ho-rror Ho-mie! 🙂 xoxo)

I’ve always been a big fan of the ‘70s and ‘80s Satanic cult movies and home invasion flicks, so when Scream Factory (a company that I adore) began advertising their movie
Jackals, I was more than enthusiastic for it. Even though I’m not a fan of Saw VI or Saw 3D: The Final Chapter, I think director Kevin Greutert could bring elements of fright and gore to Jackals, especially considering he edited The Strangers. It seems like this would have been a homerun (if we are going to use sportsball analogies here), but unfortunately his filmmaking abilities were possibly hindered by working closely with studios and playing it safe that he didn’t know how to make a horror film that fans wanted or even what he wanted. Jackals is pretty cookie cutter as far as plot goes and the scares are predictably put in place by it and coming from the man who made two Saw movies, I expected more gore. I guess you could say my expectations were too high, but I would say that the film itself didn’t meet its expectations.


Jackals doesn’t exactly set the most promising tone with opening the film by literally mirroring the opening to John Carpenter’s Halloween. You’ve seen it, because it’s iconic and memorable. The camera acts as some malicious person’s POV moving through the house, putting on a mask of some kind and killing someone or in this case a few people. Now, I’m sure that in the eyes of the filmmakers’, this was paying homage to one of the most memorable horror movie scenes, but Jackals never revisits these characters. We never learn who they are, what their connection was, nothing. It could be removed entirely from the film and it wouldn’t have made a lick of difference in the story. This is like when horror films constantly tried to mimic the ending to Carrie, because, “hey, it worked with that movie, so it’ll work in ours!” without realizing there needs to be context behind it all. It feels so disingenuous. The film also takes place in the early ‘80s, not because it needs to, but I think the filmmakers wanted to give the film an “oldschool” vibe or possibly even remove any type of technology, like cellphones. Being a cult movie, I think it would have worked better set a decade earlier, but maybe that wasn’t in the budget.

What follows, however, is actually rather unique as the driver of a pretty sweet muscle car, a young man named Justin, is beaten and abducted by two hooded figures in a van who take him to a remote cabin in the woods, who can’t help but wonder why in the hell didn’t the movie open with this? Immediately, I was intrigued and inquisiting what it could all be about, especially when we soon learn what it was all about. Turns out, these hooded kidnappers ain’t the bad guys. One is the father of the kid he just kicked the shit out of and the other is an ex-marine turned professional cult deprogrammer named Jimmy played by Stephen Dorff. Jimmy is by far the most interesting character in the film and has also made me consider my career choices. Think of him as like an exorcist but for people that have been brainwashed by a cult. The fact that he’s a marine never really plays into the story though, other to give him a gun for a moment and to give you the idea that he’s a badass, which he is. Stephen Dorff puts in a solid performance as he interrogates Justin using different methods from the tough love sell to using Justin’s family in an intervention.

Let’s talk about the family for a moment. You later learn that the parents are divorced, which you get the feeling they were seeing as the family is estranged. Nobody seems to get along, but they don’t quite hate each other. Everyone wants to blame the other person for what happened to Justin, but in reality nobody is to blame. The family dynamic is quite good and nearly everyone is given a chance to shine. The father, Andrew (Johnathan Schaech), blames himself and yet wants to make amends and when things get rough, he steps up without question and takes control. His brother Campbell (Nick Roux) seems like a selfish dickweed at first, but also steps up when he has, even though at times he seems brash and thickheaded, he just wants his brother back. However, Justin’s mother Kathy (Deborah Kara Unger from Silent Hill) is the stereotype alcoholic-mother-because-my-family-is-falling-apart and there’s nothing else to her. Deborah Kara Unger is completely wasted (I mean that in both ways) in her role and isn’t given much to do other than just be there. Justin’s girlfriend Samantha (Chelsea Ricketts) isn’t given much to do either other than try to be sympathetic to the audience because she had his baby. It isn’t until the end when she tries to separate herself from the cast, but even then it’s pretty predictable. Maybe somebody didn’t know how to write actual female characters, methinks.

This interesting family dynamic is brought to a halt and anything vaguely interesting is tossed out the window when Justin’s new “family” comes back to reclaim him. The usual stuff happens, like the power goes out and suddenly they are surrounded by a number of masked goons in the dark and this is when the movie decides to do exactly what other home invasion horror films before it have done. Stay tride and true to that formula! You wouldn’t want to do your own thing and make something that would stick out, now would you? Jimmy grabs his gun and runs outside chasing a masked figure only to be caught and never seem from again and this the point when I tell people exactly where Jackals went off the rails; the moment Stephen Dorff exits the movie. Of course the most useful character has to do something completely idiotic, otherwise he would have saved the day, although I do give some credit to the writing when Jimmy claims he underestimated them, making me think he let his macho male bravado get the best of him.

Rather than give this cult some personality, maybe some kind of background or even what the hell they worship, they are deduced down to the stock horror cliche of the masked mute villains that spend the majority of the time standing still, staring forward at a tired attempt of being scary. Sure, the cinematography is pretty, what with the cult members constantly being backlit by moonlight and surrounded by fog near the woods, but it’s not enough to sell them as menacing, especially since they get their asses kicked. A lot. There’s nothing to them. No substance, no real motivation outside of wanting a member back. The movie really could have benefited from a little bit of dialogue from them, perhaps with what they are a cult of or even some mindless, lunatic-esque mad rantings, but nothing. They are literally faceless, voiceless killers without motivation which can work in a Halloween type of movie, but the fact that they are a cult and out to reclaim one of their own, you almost need to have something behind these maniacs to make them appear as this all imposing force that are to be feared. For all we know it could be a My Little Pony cult. I’m sure those exist and are probably far more scary.

Andrew takes charge of his family for possibly the last time and they all begin to craft makeshift weapons (there’s that Saw influence) and defend their home. Knowing that they couldn’t make this the entire movie, there is some more turmoil within the family about whether or not they should give Justin back to the cult in exchange for their safety. I gotta say, that’s pretty realistic if you put yourself in that situation. Wouldn’t you consider, even if briefly, handing a loved one back over to a crazy cult if that meant they wouldn’t kill you?

Within Jackals, there was something special, but unfortunately it was never given a chance to shine. Rather than do its own thing, it decided to ape Halloween, The Purge and The Strangers, probably thinking that it would be an interesting mix. Director Kevin Greutert seemed to be too comfortable with what he knew instead of leaving his comfort zone, even briefly. I’m sure the intention from the filmmakers was to pay homage, but when you’re being derivative rather than paying respects, you kinda dropped the ball. Unfortunately, this wasn’t case, so what you get is a pretty predictable paint by numbers horror film. What are we coming to when even indie films are beginning to play it safe? There is enough potential here for a sequel, perhaps delving into the persona of the cult that was not even touched on in this movie. However, the parts of the movie that work actually work really well and draw you in as a viewer, but once the invasion happens it spoils any chance of developing those interesting ideas it started with.

Movie Review: Jeepers Creepers 3

(Full length review submitted by Mr. Anton Phibes…Thanks, Ho-rror Ho-mie. I wasn’t gonna touch this one!! 😉 xoxo)

It’s quite difficult to discuss Jeepers Creepers 3 without mentioning director Victor Salva’s sordid past in some capacity. His actions have divided horror fans and cast a grim shadow on the popular franchise. However, For this review, I will separate the art from the artist. In no way do I condone Salva’s crime, but my opinion will be based solely on the film itself and not on its director. So, when divorced from its creator, is this film any good?

No. Not at all.

Jeepers Creepers 3 takes place after the final moments of the first film.  Brandon Smith reprises the role of Sgt. Tubbs, who joins forces with Sheriff Tashtego  (Stan Shaw) to hunt The Creeper (Jonathan Breck), a winged creature who feeds on human flesh every 23rd day of every 23rd Spring. The two cops eventually team up with Gaylen Brandon (Meg Foster), a half-mad woman who has a history with the creature. Will they succeed in killing the beast or will he feed again in another 23 years? Considering the recent talk of a potential fourth installment, I think you can guess the answer.

Stripped of its controversy, Jeepers Creepers 3 has very little to offer, save for a few unintentional chuckles.  There’s nothing clever, intriguing, frightening, or even weird about it. I’m generally not the kind to be overly critical of a creature feature, but there’s just nothing here. I wasn’t a huge fan of previous entries, but they weren’t quite this bad. And not a fun sort of bad, either. Jeepers Creepers 3 is awful in the most ordinary way. It borrows ideas and frights from other scare fare, but without any life or joy. It’s rare for me not to enjoy a monster-on-the-loose picture, but I’m afraid that this film wasn’t all that frightful.

If you’ve seen the other two films, this one offers nothing fresh or interesting. It teases an origin we never get to see and turns The Creeper’s truck into a Mario Kart-like abomination, but that’s about every new element it has to offer. Imagine a SyFy Channel reboot of the franchise and you’ll have a decent idea of what this film is like. There were a couple of shots I thought were wonderfully moody, but that’s hardly enough to recommend an entire movie. Even the acting, with the exceptional of the great Meg Foster, is blandly poor. Almost everything about this film is uninspired.

The Creeper, once a fairly intimidating force of supernatural evil, is played in a ridiculous manner that suggests camp, but feels out of place in a film that is otherwise pretty straight. Now, I don’t mind a cheeky monster, but it simply doesn’t work here. Even in his first big scene in the film, The Creeper kills all potential menace he might of had by literally wagging a finger at a victim. Apparently, The Creeper enjoys Twilight Zone: The Movie….

If you’re a die-hard fan of this franchise, you may get some amusement out of this film. There are those who’ve been clamoring for this film for over decade now. I’m not one of them, I sincerely hope that this film lives up to their expectations. But for those simply looking for a good monster movie about a man-eating creature that comes every 20-plus years, I suggest you see IT.  Heck, see IT again, if you’ve already seen it. You’ll probably get more out of a repeat viewing of that film than single viewing of this forgettable fright flick.

Hidden Faces: The Masked Edition, Part 3

(Submitted by Smutmaster Eric…Thanks, Your Royal Hineyness! 😉 PS-Thanks for reminding me to get back on the #MonsterMaskMonday tip…Gotta step up the Kinky/Kreepy factor now that #OCTOBER!!! is basically upon us! 🙂 xoxo)

The Strangers (2008)


Kip Weeks as Man in the Mask, Gemma Ward as Dollface, Laura Margolis as Pin-Up Girl, Liv Tyler as Kristen McKay & Glen Howerton) as Mike.

Captain America XXX: An Axel Braun Parody (2014)


Claire Robbins as Sin, Derrick Pierce as Crossbones, Giovanni Francesco as Batroc, Phoenix Marie as Sharon Carter & Jessica Ryan as Hellcat.

Guest Starring:

Diana Prince as Spider-Babe (2017)

Goon Review: Beyond the Gates (2016)

(HEARETH YE, HEARETH YE: THIS POST WAS SUBMITTED BY MR. ANDREW “GOON” PETERS. ALL OPINIONS CONTAINED THEREIN BELONGETH TO HE, AS I, YOUR HO-STESS, LOVE THE SHIT OUT OF THIS FILM..Opinions be-eth like aresholes, though, so let’s see what Mr. Peters has to say…even if he’s, like, sooooooooo wrong. 😉 xoxo)

Who remembers VHS board games, huh? I sure do. They were short in time, obviously because of the VHS run times, where players were often given tasks or challenges to complete or face the consequences. These used to give me so much anxiety as you and your friends scrambled frantically, pitted against each other in a race against the clock, collecting items along the way. My first exposure to these was Nightmare which was hosted against a hooded Emperor Palpatine knockoff called The Gatekeeper. He would openly mock you and scream at you, scaring the piss out of you unless you weren’t the one being yelled at in which case, then it was hilarious. As time progressed, his voice morphed and he looked more decrepit, giving the game a very tense and scary atmosphere. Hey, Atmosphere was the name of sequel (yes, even board games had sequels), but I don’t remember that one nearly as much. By that time, my sister had been playing Party Mania, Mall Madness and my personal favorite, Dream Phone. What can I say, I like VHS board games. Besides, seeing my sister get angry when I was winning the cute boys rather than her was priceless. I still have all these games, but unfortunately I don’t get to play them as much, mostly because nobody else wants to. On the rare occasion whenever I have company and I present it to them, I have to take it out of my cabinet that creaks open and blow the dust off of it like I’m uncovering a relic from another time.

Beyond the Gates is an indie film that tries to capture that magic, but ends up more using VHS rentals and VHS board games as side notes in a family drama. When I first heard about the premise of the film and saw the neon pink and blue artwork I thought that this is the kind of movie for me! Maybe it was because I was expecting something else, something that would please my nostalgic sense for the VHS days or maybe my expectations were too high. I went in thinking I was going to get a playful movie (maybe in the vein of something like Monster Squad) with two goofball brothers puttering about a video store, but instead what I got was an indie melodrama with low key performances and misplaced gore. It definitely wasn’t what I expected and not for the better.

Gordon and John, two estranged brothers played by Graham Skipper and Chase Williamson, reunite to clear out their father’s VHS store after he’s been missing for over half a year. Luckily for the plot, their father is a drunk who disappears from time to time when he’s going on a bender. Rather than have it be a mystery, something the film could have really been creative with in exploring, they decide to go with the ‘drunken dad that vanishes occasionally’ trope to move things along and not to raise any questions. That’s only one of the few missed opportunities in the beginning. For starters, I know the brothers are supposed to be estranged, but this comes off like they have never met before. The interaction between the two is beyond weird and more off putting, like trying to affectionately hug a total stranger. In fact, this is sealed when they share a more than awkward hug. The next thing is the video store itself is barely explored. You could have walls of VHS for the sharp eyed nostalgia hunters while the brothers discuss odd movies and their experiences with them, something I’m sure the targeted audience could relate to, but it’s all merely looked over as the two mumble their problems vaguely, nearly sleepwalking through their performances, although to be fair, Chase Williamson seems like he’s trying.

Things change when the two uncover a VHS board game called Beyond the Gates. Curious, they pop in the time and right away something seems off. The still incredibly sexy Barbara Crampton is the host of this game, trying to give a sensual, yet mysterious performance that comes across as dull, inviting the players to take a change if they so dare. A flickering screen causes them headaches and they shut the tape off, but John decides he wants to hang onto it. The design of the game itself was pretty cool, looking like it was scratched together with cheap art pens. It really reminded me of all my folders and notebooks in high school after I would draw all over them. But enough of something that could be interesting, let’s get back to some more cliched drama as the two head home. Gordon has his girlfriend Margot who supports him in a loving way and actually tries to be there for him, despite his past demons. His past demons though, not that interesting seeing as he used to be a heavy drinker. It’s mentioned a few times or hinted at, but the film never actually does anything with this. John, on the other hand, has his friend Hank who is somewhat of a date rapist scumbag simply because he was there for him when his dad bailed.

This is where the film actually comes through in terms of character development as you really see how John needed Gordon. Their mom died when they were younger, so their dad resorted to drinking and that’s when the divide began to happen between the two. John eagerly wants to be close to his brother again, who seems to have nearly no interest (at first). You also get the feeling he clearly doesn’t like Hank and doesn’t want to be around him, but Hank has been by his side when his brother wasn’t, so it’s almost like he’s his friend out of disappointment or anger. I have to really give Chase Williamson credit here for bringing a really decent performance.

Curious once again, they decide to play the board game and this is when the gears start turning a little quicker. Slowly, the trio realizes the game is something more sinister as darker events take place, like a few localized deaths. Realizing what is happening, it’s revealed to them that their father disappeared from playing the game and in order to save his soul, they must complete the game… which nobody has ever done. Now, once they start playing the game, you’d figure they would be trapped playing it until it’s complete, but you’d be wrong. At least here. They occasionally stop to have dinner or even go to bed and honestly, it really destroys the pacing and tension it was creating. The stake were becoming higher and really interesting and creepy things were going on, but hey, people gotta have a family dinner after all or run errands. It doesn’t seem like they are in any hurry to uncover their father’s fate or even save his soul.

Beyond the Gates tries to capture the whimsy of growing up in the ‘90s, perhaps playing in your board games in your basement or perhaps using your imagination to pretend you are in a more wizardly world, but ultimately fails. It’s too bogged down in trying to be emotionally deep and frightening instead of actually being either. It really tries to bring some real emotion to the screen through the tragedy of the character’s’ history, but spends too much time beating a dead horse of a cliche leaving it feeling uninteresting for the most part. To the movie’s credit, it does try and it’s not like it’s a total abject failure in those aspects, it’s just that it spends too much time on them when it should be doing something else. Like, exploring the world of the board game, for example. I did like the aesthetic of the game and it did somewhat remind me of the games I used to play and while Barbara Crampton does give her dialogue a sultry tone, she isn’t given anything else to do aside from cackle here and there. I figured she would have broken the fourth wall occasionally to taunt the brothers, much like The Gatekeeper from Nightmare. Speaking of that, one thing I did like is much like how The Gatekeeper progressively becomes slightly more decrepit looking through Nightmare’s playtime, Barbara Crampton’s eyes are blackened more and more. I actually didn’t notice at first and I thought it was a nice subtle approach to low budget solution to that. They also used neon lighting at times and a gate that appears in their basement that seemingly goes into a void of blackness, which is extremely moody and does capture a wild imagination of not knowing what to expect next. Unfortunately, those moments don’t happen too often.

Knowing that their had to be consequences to playing the game, the movie adds in some gore which really feels misplaced in a movie like this. The same goes for the cursing and I know it sounds peculiar for a grown adult to be complaining about gore and swearing, but it doesn’t feel like it should belong here. If anything, it takes you out of the world the movie is desperately trying to create. Seeing as it’s trying to exploit your nostalgia, you figure it would want to appeal to the more childlike senses you have. Aside from being bogged down in a lot of drama, you then throw in a mixed bag of mature themes, so the kid in me feels thrown off. I don’t know, maybe I’m being extremely naive, but I feel like Beyond the Gates could have benefitted from being a little more tongue in cheek, perhaps a little more playful. It wants to appeal to your childhood memories, so I feel like it should have acted perhaps a little more childish, maybe a Monster Squad or Goonies type of feel as these guys played this board game. I dunno, it really feels like a missed opportunity.

The Blu-ray from Scream Factory, in a partnership with IFC Midnight, does have quite a few extra features if you feel so inclined to check them out. If audio commentaries are your thing, Beyond the Gates has four of them. Seems a bit much for a movie that most people are probably only going to watch once and may not be interested in what could be said about it. I know, that sounded mean, but honestly I do find this kind of thing very cool and adds value to the price. There’s also a look at some behind the scenes, a few deleted scenes as well as a premiere Q & A. A short film called Sex Boss is included, which I didn’t check out, but my favorite by far was the retro commercial for the board game itself, Beyond the Gates. Now, this is the spirit the rest of the film should have been in tone with, dammit.

While I don’t hate Beyond the Gates, I don’t necessarily like it either. I wouldn’t mind watching it again and hopefully upon a second viewing, I won’t be seeing the things I felt it should have been, but maybe appreciate it more for what is. However, what it is feels more like a better concept than it was a movie.

Horror Happenings: AHS: Roanoke Paleyfest

On Sunday night, PaleyFest LA 2017 ended not with bang, but with a blood-curdling scream…

That’s right, Horror Fanatics! The cast & crew of AHS: Roanoke ended the fesival on a fiendish note! Cast members Sarah Paulson, Adina Porter, Cuba Gooding Jr., Kathy Bates, Denis O’Hare and Cheyenne Jackson were in attendance, along with Executive Producers Brad Falchuk (co-creator) and Tim Menear.

Image: Kinky Horror’s Mystery Reporter. (lol)

Image: Kinky Horror’s Mystery Reporter. (lol, part deuxxx)

There wasn’t much in way of information on the upcoming season, but there was a lot of fun to be had. The team was a charmingly silly bunch, giving off the impression that they had deep admiration for each other, including the absent Angela Basset. Everyone had a few good laughs and seemed to be having a grand time, but it was Sarah Paulson and Kathy Bates who had ’em rolling. The two teased each other throughout the night, constantly giving each other a hard time. Paulson did a Swedish Chef-like impression of Bates, to which Bates responded with a simple “Go fuck yourself.”  Bates ended up doing her Paulson impression, which involved puffing out her lips. The two sat next to each other and kept touching and hugging each other during the entire event. Bates referred to Paulson as “The People’s Princess.”

Image: Kinky Horror’s Mystery Reporter. (and again I say, lol…Thank you, “Mystery Reporter”. 😉 xoxo)

Image: Michael Bulbenko for the Paley Center

When the floor opened for questions, we did get some more a bit more info. The actors were asked which AHS roles they would like to reprise. Paulson had chosen Cordelia, the head witch in charge in Coven. “We only got to see her just getting her powers. I just would like to know if the power might have been something that kind of changed her,” said Paulson. O’Hare went with Larry Harvey, the burnt-faced man who ended up in prison in the first season. “I’d like to see him get out of jail, he’s probably been organizing musicals there,” remarked O’Hare.

Image: Paley Center

One fan asked if there would be “more famous people” next season. Instantly, Bates, Gooding Jr., O’Hare and Paulson walked off the stage, resulting in a thunderous roar of laughter from the audience. A fan delivered a letter to Sarah Paulson, in a move almost identical to the PaleyFest scene at the end of Roanoke.

Image: Kinky Horror’s Mystery Reporter.

After the Q&A, the stars stuck around and signed autographs/took pictures with the fans. Paulson, who stuck around and took a incredible amount of “selfies”, really lived up to Bate’s title of “People’s Princess.”

Image: Paley Center

Image: Paley Center

Image: Paley Center

Image: Paley Center

Image: Paley Center

Image: Paley Center

Image: Paley Center

Image: Paley Center

Image: Paley Center

Image: Kinky Horror’s Mystery Reporter

I’d say this event was a lovely nightmare for AHS fans.

Get Out (2017)

(Submitted by Mr. Anton Phibes…Thanks, ho-rror ho-mie. This was already in my Must View Queue, but now it’s right there at the very top! 🙂 xo)

Horror is as varied a genre as any other. There are horror films that are meant to delight you, get under your skin, shock you, disturb you, and others that may intend to do something beyond a simple classification. The genre’s primary job is to deal with the with the frightening and/or unnatural. Monsters and ghouls are among my favorite things, but they’re hardly frightening to most in today’s society. What scares most of us is usually something far more real and harder to combat than Dracula. Many brilliant horror films have used the macabre trappings of fantasy to comment on some very real issues. Critics tend to point to George A. Romero as an artist who uses monster movies as commentary. In his work, they see statements on race relations (Night of the Living Dead), consumerism (Dawn of the Dead), conflict between science and the military (Day of the Dead), and class (Land of the Dead). Genre legend John Carpenter’s growing disdain for Reaganomics led him to address these issues in his satirical sci-fi film, They Live. Under the pseudonym “Frank Artimage,” Carpenter took aim at the consumerism of the Reagan era. From the citation of Night of the Living Dead in promotional interviews to the prominent use of the last name “Artimage,” it’s clear that the lessons of these past filmmakers were not lost on director/writer Jordan Peele when he made Get Out.

Get Out concerns Chris Washington (Daniel Kaluuya) and his girlfriend Rose Armitage (Allison Williams), an interracial couple preparing for a trip to meet Rose’s parents. Chris is concerned because Rose hasn’t told them that he is black, but Rose assures him that everything will be fine and they depart. Of course, with this being a horror picture, everything will be far from fine. At first, Rose’s folks seem fairly normal, if a bit awkward. They give him a warm enough reception, but they are also painfully aware of his race. To add to this strangeness Chris notices that the black people on the premises act… peculiar. As the weekend progresses, what was once awkward morphs into something far more sinister, leading to truth far more disturbing than one could imagine.

Get Out is the directorial debut of comedian Jordan Peele and it is an absolutely glorious way to start. Peele understands the power of the horror genre and uses it to address racism, a horror that is seldom addressed in fright films. The racism on display here is not the overtly violent kind, but the insidious kind that wears a smile and mask of gentility. When we begin to put race above all else, we begin to undermine the humanity of others. Regardless of outward appearances, we are all of the same species. In Get Out, exoticizing, appropriation, and excessive accommodation are all presented as dangerous forms of racism. The most powerful horror films tend to explore uncomfortable themes in a way that not only makes us feel uneasy, but also encourages us think about them. Get Out is that kind of movie.

Get Out not only succeeds  as social commentary, but it also works a damn chilling horror film. Despite this being his first feature film, Peele’s work here is extraordinarily confident. Tension is a thick as fog throughout the picture and the suspense is perfectly unbearable. The performances in the film simply perfect, especially those of leads Daniel Kaluuya and Allison Williams. Kaluuya’s likable performance makes the horror of what is happening to him all the more terrifying. There are images here that are likely to haunt the viewer for a very long time, including a nightmarish sequence of a hypnotized Kaluuya sinking into endless darkness. The film features hypnotism, mad science, and many other macabre elements that are likely to please my fellow frightseekers.

With an unfathomable 99% on Rotten Tomatoes and its exceptional success at the box office, I have a feeling Get Out will be come a classic of the genre. The film is thought-provoking as it is frightening, and that is quite the feat.  Jordan Peele has expressed interest in doing more of these “social thrillers,” and I certainly hope he does! If any of his future films are even half as good as this, Mr. Peele may very well be the next true Master of Horror.