Category Archives: Horrific movies

Demons (2017): Southern Gothic


Andrew Divoff has been a busy man. He recently starred in Michael Kehoe’s film The Hatred, and is in the process of launching his own brewery. Last Friday, his newest film, Demons(directed by Miles Doleac) was released in theaters and VOD. I can say without reservation that I thoroughly enjoyed Demons, in part because it runs counter to common horror film tropes.

The plot bears some similarity to The Last Exorcism, insofar that a fanatical father requests that a skeptical minister exorcize his daughter, who may or may not be demon-possessed. Divoff portrays the afflicted girl’s father, and he is a scene-stealer in that role. It would be too simplistic to merely label his character, Jasper Grant, as another “bad guy.” Jasper does some awful things to his children, but with good intentions, because he is entirely sincere in his religious beliefs. This element could have come off as campy or otherwise derailed the film, but Divoff handles it beautifully. The character’s love for his children shines through enough that you can’t hate Jasper, even though his religious beliefs are destructive.

Andrew Divoff as Jasper Grant

Demons runs counter to horror film tropes in its depiction of women, particularly the character Lara (Kristina Emerson). Introduced in the present-day timeline as a friend of Jasper’s surviving daughter Kayleigh, Lara initially seems like the sort of character who is written out early. That is, she spends a lot of time naked, has purple hair, and has a lot of unconventional ideas about spirituality and social norms. In fact, she is a psychologically healthy character whose spiritual views and lifestyle serve as a counterbalance to Jasper’s shame-based religious attitudes.

There is also a twist ending that I flat-out did not expect, but if fully in keeping with the fact that many characters are not what they seem. This is certainly true of Father Colin (portrayed by writer-director Miles Doleac), who is skeptical that a demon possession is actually taking place. Father Colin also goes against expectations by leaving the priesthood to marry the afflicted girl’s sister, Kayleigh (Lindsay Anne Williams).

You won’t find many jump-scares in Demons, but you will find solid psychological and religious horror.

Check out the trailer for Demons below and order your copy today.

Exclusive photos: The Hatred Signing at Dark Delicacies

On September 16, Michael Kehoe, Andrew Divoff, Sarah Davenport, Amanda Wyss, Gabrielle Bourne, Musetta Vander, and Gary Tunnicliffe appeared at Dark Delicacies to promote their new film, The Hatred. Michael Kehoe and Andrew Divoff were kind enough to share exclusive photos from the event.

Left to right: Sarah Davenport, Dark Del, Amanda Wyss, and Michael Kehoe.


Cast and crew of The Hatred had a fun and busy evening of signing copies of the DVD for fans.

Sarah Davenport portrayed Regan in the film.


Left to right: Amanda Wyss, Andrew Divoff, Musetta Vander, and Michael Kehoe.

Andrew Divoff is hanging out with leading ladies Gabrielle Bourne and Sarah Davenport.

The Hatred (2017): "In death we are free"

The Hatred, (directed by Michael G. Kehoe and starring Andrew Divoff, David Naughton, Amanda Wyss, Sarah Davenport, Gabrielle Bourne, Bailey Corman, Alisha Wainwright, Nina Siemaszko, Shae Smolik, and Darby Walker) was released on DVD/Blu yesterday. I’m very excited about the upcoming podcast interview with Michael Kehoe, and Andrew Divoff’s upcoming announcement of his new business venture, Three Marm Brewing. In the meantime, I’ll share my thoughts about the film itself.

Without  revealing major spoilers, the first part of the film takes place in 1968, in which former Nazi soldier Samuel Sears (Andrew Divoff) has assimilated into American society as a reclusive farmer. He receives an amulet in the mail from one of his Nazi associates, and the amulet prompts a series of violent events at the farmhouse. In the present day, a group of young women on a weekend retreat at the old farmhouse encounter the amulet’s evil influence along with the ghosts of Sears’ family.

The trailer looked massively creepy, but the scenes involving the four young women in the present-day scenes made me a bit worried that the film itself would involve a bunch of shallow, bubble-headed bimboes being terrorized in typical slasher film fashion. Fortunately, I was very wrong about this point. The young women are actually intelligent and inquisitive. One of the funniest moments that counters audience expectations is when the blonde Samantha (Bailey Corman, the niece of Roger Corman) not only recognizes a gruesome artifact as an 11th century Viking death mask, but also exclaims, “I’m in heaven!” Later, Samantha is revealed to be a scholar and serious history buff. Once the malevolent supernatural activity really kicks off, the young women react by researching the history and properties of the amulet rather than becoming hysterical.

Andrew Divoff as the Nazi Samuel Sears

The film’s performances are solid. Darby Walker is great as Sears’ daughter, Alice, who meets an unpleasant end early in the film. Andrew Divoff is phenomenal as the ex-Nazi Samuel Sears. He’s as menacing as you would expect, based on Andrew’s other bad-guy roles, but he also shows some sensitivity and emotional vulnerability in some of the scenes, adding complexity to his overbearing, authoritarian patriarch character. There  are also some unanswered questions about this character and his relationship to the local Sheriff. It seems like the Sheriff has some skeletons in his own closet, and Sears leverages this knowledge to prevent the Sheriff from conducting any serious investigation into Alice’s disappearance, or from outing Sears as a former Nazi. 

Don’t go into this movie expecting a T&A slasher film, or even blood and gore. (Though there is a flashback sequence that makes me wonder if Sears disemboweled and taxidermied Alice.) Instead, it’s a character-centric ghost story with an emphasis on atmosphere and spookiness. Pick up your copy of The Hatred on Blu-ray today! Also, those of you in Southern California can meet  director Michael Kehoe, FX designer Gary Tunnicliffe, and cast members Andrew Divoff, Sarah Davenport,  Amanda Wyss, Gabrielle Bourne, Musetta Vander, and Nina Siemaszko at Dark Delicacies on September 16, 2017.


IT (2017): Movie vs. Book

You know what time it is. Time for me to give an obligatory review of IT, because every other horror film reviewer is talking about it. I even re-read the novel in preparation for seeing the 2017 film adaptation. IT was the second novel I read by Stephen King; The Shining was the first. IT stuck with me for a long time, and I tend to re-read the book every few years.

When I later saw the miniseries Stephen King’s It on TV, I was sorely disappointed. Tim Curry made a good Pennywise, but so many terrifying scenes from the book didn’t make the cut. The scenes that did were often cheesy, not scary. But before I cast more aspersion on the TV miniseries, I realize that the adaptation was hampered by budgetary limitations and network censorship. I knew then that to do the novel justice, the next adaptation would need to be an R-rated film with a bigger budget and better special effects.

Finally, Andy Muschietti has given us an adaptation that approaches King’s vision and captures the heart of the novel. This isn’t to say that the new film doesn’t differ from the novel in several significant ways.

Bill Skarsgård is fantastic as the new Pennywise.

The narrative structure is different. First, the narrative structure of the film is purely linear. King’s novel begins with the death of Georgie, and then introduces the Losers as adults. The Losers’ present-day story is interspersed with flashbacks from their childhood as they recover suppressed/repressed memories of their horrific encounters with Pennywise. The film focuses exclusively on the Losers’ childhood events, teasing a future “Chapter Two” which will focus on the characters as adults.

The time period is different. King’s novel set the flashback scenes in the 1950s, and the adult scenes in the then-present 1980s. The new film moves the time period up three decades by having the characters as children in the late 1980s, which will allow the the adults’ story to take place in the mid-2010s. As much as I loved King’s vivid description of life in the 1950s, this change makes sense, is more relatable to most audience members, and doesn’t weaken the story in any way.

Beverly encounters an unusual clog in the bathroom drain.

Don’t expect to see your favorite scares. Everyone who has read the novel has certain scare scenes that affected them. Check out this list from Mashable for examples. I always enjoyed Ben’s first encounter with Pennywise on the canal, and have never thought of the tune “Camptown Races” the same way after reading Stanley’s encounter at the old standpipe. Patrick Hocksetter’s death involving an old refrigerator and flying leeches was fabulously weird. That said, don’t expect to see them. You will get to see a version of Beverly’s encounter with the bathroom drain, but many of these scenes don’t appear in the new film, or have been reimagined as something else entirely. Fortunately, the re-imagined scares are pretty darn good. My favorite is Ben’s encounter in the library.

The creepy house on Neibolt Street is prominently featured in the new film.

The graphic sexual content has been excised…again. The new version of IT isn’t afraid of gore, and actually had the balls to show Pennywise chewing Georgie’s arm off.  But when it comes to the novel’s graphic sexual content, the filmmakers played it safe. So if you are wondering if the new film includes THAT scene in which Beverly has sex with the rest of the Losers, the answer is no. Also missing is the homosexual encounter between the bullies Patrick Hocksetter and Henry Bowers. The “leper “who terrorizes Eddie does not offer a blowjob. However, it is implied that Beverly’s father sexually abuses her. Theses scenes were effective in the novel, because the reality of children being vulnerable to sexual predators was a nice contrast to the wholesome facade of the 1950s, but certainly a PR nightmare to adapt to film, given the fact the characters are underage. We’ll see if the raunchier aspects of the novel make the cut when the adults’ story in “Chapter Two” is released.

I was pleased to see a more serious attempt at depicting the “deadlights,” and the fact that looking into them will make you lose your mind. I hope that “Chapter Two” expands on this, and includes the inter-dimensional battle between the Losers and Pennywise.

Interview with Screenwriter Dexter Williams

This is an interview that has been long overdue. For the past several months, I’ve chatted intermittently with Dexter Williams about his award-winning screenplays, but because of schedule conflicts, wasn’t able to work out a time to interview him on the podcast. Thankfully, Dexter was able to answer my questions by email. Dexter is an American screenwriter who has written twelve feature film screenplays and twelve short screenplays, virtually all of which being a personal reflection of his interest in the paranormal and metaphysical. He has written scripts in the genres of: comedy, drama, fantasy, horror, science fiction, and thriller.

MHL: How did you become interested in screenwriting?

DW: Well before I was interested in horror, there was this idea for a teen romantic comedy I was very passionate about.  It was about a high school student who is asked to hypnotize the captain of the basketball team into being her best friend’s date for an upcoming dance.  I thought that would make a great date movie.  I started buying books on the art of screenwriting, and from there I wrote my very first feature film script “Under Your Spell”.  And that was the beginning of my interest in writing for the screen.

MHL: What inspires you? Who or what is your muse?

DW: The better question is “what inspires me”?  The motion picture industry, and movies in general.  When I was growing up in Michigan, I really wasn’t into movies.  The idea of sitting in a darkened theatre wasn’t that appealing to me.  One film changed all that: “Altered States”, released in 1980 (on Christmas Day — of all days).  When I saw the TV spot for the film, that was the first time I actually wanted to go see a movie.  I have had a love affair with movies ever since.  I really don’t have a regular muse as far as my scripts go, but Italian actress Monica Bellucci was my muse for one of my horror scripts “Mistresses of Sleep”.  After seeing her in “The Matrix Reloaded” and “The Brothers Grimm”, I wanted to create a feature film project for her playing a hypnotist.  I could find the right story for the project, so I focused on other scripts.  I came back to it a couple of years later, and it turned out a whole lot different (and better) than I would have ever imagined.  I would be so honored to have Monica be in the film if “Mistresses of Sleep” ever gets made.

MHL: It seems that most of what you write falls within the horror genre. What draws you to horror?

DW: I absolutely love the level of intensity when it comes to horror.  The idea of having the living daylights scared out of me is a genuine rush to me, and I enjoy writing horror scripts that prey on fears of the unknown.  Supernatural horror is my favorite genre because it explores things that are beyond explanation and beyond the boundaries of reality.

MHL: Your screenplays recently have achieved recognition and awards at various film festivals. Tell us more about this.

DW:  I have been quite fortunate to have some of my scripts get recognition at various film festivals.  In fact, I have gotten more recognition for my horror scripts than any other genre.  “Demon Crystal” and “Mistresses of Sleep” were Official Selections in the Fright Night Film Fest and the Sacramento International Film Festival, and “Mistresses of Sleep” was not only an Official Selection in the Oaxaca FilmFest in Mexico, it was even nominated for three awards: Best Horror, Best Original Concept, and the big one…Best Overall Script!

MHL: On a more personal note, you’ve discussed the role of hypnosis in your creative process. How has hypnotherapy helped you as a writer?

DW: After I have written my first two scripts, I suffered from Writer’s Block.  One day I met a lady who was telling someone’s fortune.  I talked to her and I was surprised when she give me her business card which said she’s also a hypnotist.  I told her about my writer’s block, and she agreed to help me with that (at no charge).  Her name is Monica Geers-Dahl (she’s a hypnotherapist from Florida), and she is awesome!  Thanks to the sessions I had with her, I haven’t had writer’s block since.  

MHL:What projects are you currently working on?

DW: I’m working on my first collaboration.  It’s outside of the horror genre, and it’s a fantasy-drama called “Words of the Ethereal”.  It is based on an original story by my collaborator, an amazing writer/poet from the state of Washington named RaVen Marie.  It is quite a challenge writing a script based on someone else’s story, but it’s a challenge I gladly welcome.  

MHL: Now for questions we ask all of our interviewees: Do you have any questions you hate being asked?

DW: Thankfully, I have not had any embarrassing questions in all the interviews I have done.

MHL: What questions are never asked that you wish would be asked?

DW: One question that comes to mind is: if I could have any actress play a hypnotist in a horror film, who would it be and why?  I would have to say Margot Robbie, who played Harley Quinn in “Suicide Squad”.  She would make a fabulous evil hypnotist!

MHL: You are on a desert island with only two hours of battery life left on your iPad. What is the last movie you will watch?

DW: Probably “American Beauty”, the 1999 Best Picture Oscar Winner.  It is my all-time favorite film (not horror, by the way).

MHL: The world is about to end in nuclear war. What will be the last album you will listen to?

DW: “Hounds of Love” by English recording artist Kate Bush.  She is a phenomenal talent and one of my all-time favorites in music.  


Dexter is represented by Mystical Sounds Productions, a management/production company based in Montreal, Canada.


DEMON CRYSTAL (Horror) OFFICIAL SELECTION/SEMIFINALIST – Southeastern International Film Festival

DESTINATION YESTERDAY (Thriller) GRAND JURY AWARD – L.A. Neo Noir, Novel, Film, & Script Festival






HELL FOR HIRE (Dark Comedy)























Southeastern International Film Festival – Semifinalist

Fright Night Film Fest – Official Selection

Sacramento International Film Festival – Official Selection (Semifinalist)



L.A. Neo Noir Novel, Film, & Script Festival – Grand Jury Award Winner (Gold Award)

Sacramento International Film Festival – Official Selection (Semifinalist)



Sacramento International Film Festival – Official Selection (Semifinalist)



Oaxaca FilmFest – Official Selection (Nominated for: Best Overall Script, Best Original Concept, Best Horror)

Fright Night Film Fest – Official Selection

Sacramento International Film Festival – Official Selection (Semifinalist)



Sacramento International Film Festival – Official Selection (Semifinalist)

September is Stephen King Month!

In honor of Stephen King’s birth month, My Horrific Life will be covering our favorite (and not-so-favorite) Stephen King books and film adaptations.

Like many of our readers, I’m excited for the new film adaptation of IT, because it’s possibly my favorite King novel (in a close tie with The Shining). I revisit the novel every couple years, and I’m hoping IT finally gets the film adaptation it deserves. My massage therapist John summed it up by saying, “maybe now people can stop talking about the TV miniseries, which was AWFUL. The people who like it liked it when they were eight years old. What eight-year-old has good taste in ANYTHING?” Although Tim Curry gave a great performance as Pennywise, I have to agree with John. The other things I noticed is that people who love the miniseries have never read the book. The novel was simply too gruesome and too…adult to be adapted as a 1990s television special. Those of you who have read the novel are probably also wondering if the 2017 film adaptation will include THAT scene. You know, the one in which Beverly did not give the boys a chaste kiss on the cheek, as she did in the TV miniseries?

While I can live without the pre-teen gang-bang scene, I really hope this version includes the inter-dimensional battle between It and the young people, properly explain what the “deadlights” are, and, of course, include the gorier and more lascivious scares that made the novel so effective.

On our podcast, we will be welcoming back Justin Beahm for a roundtable discussion about Stephen King’s works and adaptations. Though not related to King’s work, I am very pleased to announce that we will be interviewing Michael Kehoe, director of The Hatred, starring our recent podcast guests Andrew Divoff and David Naughton. The Hatred  is scheduled for a release on blu/DVD on September 12.

From the archive: In the Mouth of Madness (part 3): "You are what I write"

The Black Church is the gateway for humanity’s destruction.

In this final post on John Carpenter’s In the Mouth of Madness, I’m going to explore the film’s take on religion in general and Christianity in particular. I’m a bit surprised that the film has not drawn fire from Christian media watchdogs. Perhaps the film flew under the radar of most Christian viewers, but my Christian friends who have watched it don’t seem to regard it as particularly offensive.

In the Mouth of Madness makes a number of overt claims that would be regarded as heretical. In the church confessional booth scene, horror author turned deity Sutter Cane informs protagonist John Trent, ” Do you want to know the problem with places like this? With religion in general? It’s never known how to convey the anatomy of horror. Religion seeks discipline through fear, yet doesn’t understand the true nature of creation. No one’s ever believed it enough to make it real. The same cannot be said of my work.” He goes onto explain that his books have been translated into 18 languages and have sold over a billion copies. “More people believe in my work than believe in the Bible… It’ll make the world ready for the change. It takes its power from new readers and new believers. That’s the point. Belief! When people begin to lose their ability to know the difference between fantasy and reality the Old Ones can begin their journey back. The more people who believe, the faster the journey.” Later, Cane informs Trent, “I’m God now.”

Popular horror author and deity Sutter Cane

The idea that belief create reality is a subversive one, especially if that means that people create gods and not the other way around. It calls to mind occult theories of tulpas and thoughtforms.

What’s potentially more inflammatory than the overt text is the subtext. It became apparent to me–after many viewings–that In the Mouth of Madness is actually about Calvinism. And it presents one of the best arguments against Calvinism, at least if one has any investment in the belief in free will and in God’s inherent goodness.

For those unfamiliar with the term, it was named for the 1500’s theologian John Calvin, whose ideas were branded heretical by the Catholic Church. Calvin’s ideas still hold some weight among some Protestant denominations, though are hesitant to embrace all of its tenants. (Hence, you hear people describe themselves as four-point Calvinists as opposed to five-point Calvinists.) The big issue with Calvinism is that it opens a big can o’ worms regarding the nature of evil and whether God is good. Other forms of Christianity address these issues by stating that God is absolutely good, but evil exists because God allows his creations to have free will. Free will may be limited, because all people are born into sin and are incapable of absolute holiness, but people still have a great deal of freedom to make choices. In this model of Christianity, humans also have the free will to reject or accept the salvation offered by Jesus Christ. Therefore, God does not damn anyone to hell. Rather, some people elect to be sent there. It’s a decent explanation for why the world is so awful without besmirching God’s goodness.

In contrast, Calvinism posits that all of humanity is absolutely depraved and have no free will to avoid sinning, nor to freely accept or reject salvation. Instead, God “predestines” some for salvation and others for eternal damnation. (This is not the same as an all-knowing God knowing the outcome of every human choice before it happens.) Adherents who fail to see the nightmarishness of this have simply not followed the logic through to its natural conclusion. A belief in zero free will and in predestination cuts to the heart of any argument in God’s inherent goodness and justness. After all, how just and righteous is it to eternally damn a large segment of one’s own creation when they never had a choice to do wrong in the first place, nor the choice to reject an offer of salvation?  It seems that such a God would be damning people for the lulz, or as Calvinists would prefer to say, “for the good pleasure of His will.”

Trent takes a deeper look into the Word of God.

Trent protests, “God’s not a hack horror writer.” But a purely Calvinistic God surely would be. How else could one explain the entirety of human history, which reads like a long list of atrocities? Such an account only fits in the horror genre, and is nastier than anything conceived by even the most extreme writers. God would be an like an author who develops characters and scripts their every action in advance, writing out their ultimate ends in His infallible Word. His creations can consult his Word to see how it all turns out, but have no free will to exercise in the outcome. This is exactly what happens in In the Mouth of Madness, in which Cane, the Creator, does all of this with the added sadism of giving his creations consciousness and allowing them to labor under the illusion that they are real people who have a will of their own. Which is, I guess, also the same sadism present in Calvinism and other versions of theological determinism.

Continuing the analogy of Sutter Cane as God, John Trent could be read as a perverse and inverted version of Christ, “the Word made Flesh.” This is where In the Mouth of Madness departs from Calvinism or any other form of Christianity, because Trent doesn’t deliver salvation to anyone. Rather, he is the unwitting and unwilling carrier of Cane’s “new Bible,” which will doom the entire human race. And for the people who don’t read, there’s a movie version.

Christian iconography abounds in “In the Mouth of Madness,” and Trent’s adornment with crosses signifies his role in Cane’s “new Bible.”

Of course, not everyone takes offense at the notion of a sadistic puppeteer god who pulls the strings of creations who falsely believe they have a self, as we’ll see in my review of Thomas Ligotti’s Conspiracy Against the Human Race.