Directed by Faye Jackson
Written by Faye Jackson
Starring Constantin Barbulescu, Camelia Maxim & Catalin Paraschiv
Find out more information on the film’s Facebook page!

Though many won’t have the patience to sit through this somber little vampire film, I was fascinated at the way STRIGOI: THE UNDEAD shed light on a culture that I am completely unfamiliar with. Though we all know that Dracula comes from a setting much like the Romanian township featured in this film, his trek to England is what folks remember most about Stoker’s classic piece of lit. STRIGOI peels away all of the Hollywood glamour often attributed to the modern vampire and tells a straight up tale of the undead through the eyes of the extremely traditional and superstitious population of modern Romania.

I was fascinated by the traditions followed involving death and dying observed in this film. Though set in the modern day, STRIGOI is a somewhat timeless piece of cinema. The horror is almost secondary to the age-old rituals and mores observed by the town. Often played for its ludicrousness; such as sitting with a corpse for a fortnight drinking vodka to make sure the body does not rise as a vampire, the tradition is scoffed at by our protagonist Constantin (played by the deadpan Constantin Barbulescu), but writer/director Faye Jackson never makes fun of the culture. Her lens focuses on the intricacies of this culture’s superstition and how important it is within their day to day life.

This story of a couple murdered by a lynch mob who raises from the dead to enact revenge is a subtle slice of Romanian culture, and thus different than most vamp flicks out there now. STRIGOI: THE UNDEAD isn’t explosive or over the top. The gore isn’t in your face and the actors don’t ape for the camera. But it is an effective little horror film, destined to be overlooked unless you want to take a chance, heed my advice, and check it out.

THE WILD HUNT (2009) Review

Directed by Alexandre Franchi
Written by Mark Anthony Krupa & Alexandre Franchi
Starring Ricky Mabe, Mark Anthony Krupa, Trevor Hayes, Kaneihtiio Horn, Nicolas Wright, Claudia Jurt, & Kent McQuaid

This is one pitch black semi-comedy/semi-horror film. It’s hard to place it in a genre, but there are definitely elements at play such that it surely has a place here at AICN HORROR. A medieval reenactment camp is the setting for a drama between a young man and woman played by the equally talented Ricky Mabe (Erik) and Kaneihtiio Horn (who plays the object of the entire camp’s desire, Lyn, and rightly so). Needing some space, Lyn escapes to the camp and immerses herself in a culture of role-players who take living in the primitive society a little too seriously. Erik (a non-player) follows and is more than a little weirded out by it all, but Erik is familiar with the culture because his older brother Bjorn (played by writer Mark Anthony Krupa) has left home to live at the camp. Bjorn carries around a sledgehammer that he has dubbed Mjolnir and swaggers through the camp as the fearsome berserker. Tensions at the camp are already high between the Celts lead by Shaman Murtagh (Trevor Hayes) and the royalty of the camp, King Argyle, played by the hilariously assy Nicolas Wright. When Erik storms through camp in search of his girl and refusing to play, things get real real quick, and soon the camp turns into a really real war zone. Really.

As ridiculous as this case sounds, things are played pretty straight and aside from a couple of beats in the first half hour, the culture of medieval role play is not something that’s scoffed at. Reminiscent of the Tom Hanks made-for-TV film MAZES AND MONSTERS, about a young kid wrapped up too much in a Dungeons & Dragons-like roleplaying game that turns deadly, THE WILD HUNT was surprisingly chilling–especially the surreal ending as the camp in engulfed in flames and fury as the true colors of these gamers, both blood red and yellow, show themselves. The weekend warriors completely flip and start acting like real savages. Director Alexandre Franchi makes it all believable as the mob mentality takes over and in actions oft seen in some sporting events, the uglier side of nature proves to be closer to the surface than we’d all imagine.

I highly recommend this slow building film. Sure it’s easy to scoff at. Last year’s Paul Rudd comedy ROLE MODELS did a great job of that. But THE WILD HUNT takes shit seriously and turned out to be quite a chilling tale. With great performances by a cast of relative unknowns, this is one of those little movies that you’re bound to see late at night some time and wonder why you’ve never heard about it. Those who saw THOR in theaters and loved the tragedy and mythology will probably be pleased to see this more sophisticated take on medieval culture and how one can become consumed into a counter culture. This is a chilling modern fable wishing it was set in the Middle Ages.

CROPSEY (2009) Review

Directed by Joshua Zeman & Barbara Brancaccio
Written by Joshua Zeman

It’s been labeled as a real life BLAIR WITCH PROJECT, which isn’t particularly accurate, but CROPSEY does induce chills, mainly because it is a documentary and not an actual horror film. There’s something comfortable watching a horror film, knowing that, even if it is labeled a found footage film, you know, in the back of your mind, that it’s not real. You don’t have that feeling with CROPSEY which is what makes it such a riveting and suspenseful film.

CROPSEY follows filmmakers Barbara Brancaccio and Joshua Zeman, two life-long residents of Staten Island who recall the urban legend of a child killer named Cropsey, told to children in order to get them to stay close to home and eat all of their vegetables. The film follows the two investigators as they interview Staten Island residents, dig through old newspapers and archives, and explore the thick wooded forests in the middle of the island which used to house a tuberculosis and mental hospital, now in ruins. CROPSEY gives a pretty powerful account of the events leading up to the abduction of a handful of Staten Island children who go missing in the very area they were warned was haunted by the evil Cropsey. The filmmakers explore the idea this may be a case of life imitating myth and builds a pretty solid case against a single homeless man who has been serving time for the abductions, Andre Rand.

The film is at its best when it sticks to fact. The story of Andre Rand and his connection with the missing children is both the stuff of nightmares and makes for such an interesting story. The multiple photos of the man wide-eyed and drooling are enough to implicate him of some kind of mental illness. The facts are presented in a fashion that makes one doubt it’s not a work of fiction, with so much stacked against the bizarre Rand, but just as many shady hypothesis making one doubt that he was working alone or even did it at all. If anything, the film provides too much of an objective view, making me ask more questions and feeling more than a little unfulfilled by the end. Then again, it’s just a fraction of the feeling the relatives and friends of the children probably feel in this as yet, unsolved case.

I know it was probably marketing who tagged the BLAIR WITCH stuff to this film, but to be honest, the nighttime investigation is in only a small portion of the film and is by far the least compelling part of the film. Sure trouncing through the ruins with a flashlight and a camera is scary (proven so in the aforementioned BLAIR WITCH PROJECT and countless GHOST HUNTER TV series), but this was the point of the film that showed the filmmakers hand the most as trying to add something dramatic with a payoff that amounts to nothing. I kind of wished they wouldn’t have even included that scene because it cheapens an otherwise engrossing documentary of the crossroads between frightening fiction and nightmarish fact. CROPSEY is a fantastic documentary about some horrific crimes, but is a bit guilty of manipulating the audience on the side of cinema not factual information in a few well commercialized moments.

DAWNING (2009) Review

Directed by Gregg Holtgrewe
Written by Gregg Holtgrewe & Matthew Wilkins
Starring David Coral, Jonas Goslow, Christine Kellogg-Darrin, Daniel Jay Salmen, & Najarra Townsend
Find out more info on this film here and more on Facebook here!

DAWNING is one of those horror films I love to see. It’s a low budgeteer relies on smart writing in order to amp up scares and not necessarily make it obvious that the film was done on the cheap. While there is actually one location this film is shot in, it’s never obvious or restricting. In that, DAWNING is a successful indie horror film, done for cheap but in a way that never broadcasts it.

DAWNING centers around a brother and sister, Chris and Aurora, as they return to their family home after an extended period of time away. The family has its demons. Father is a recovering alcoholic and mother seems to have left the family for an extended period of time. The vacation at the cabin in the woods starts out pleasant, but it is filled with tension. No one of the family wants to talk about the difficulties they’ve inflicted upon each other to spoil the pleasantries, but when the family dog is found dead, emotions flare and the demons just below the surface start to show themselves. Soon a stranger shows up to the home telling the family that there is something evil in the woods and that no one will survive the night.

Director Gregg Holtgrewe does a great job of building tension in DAWNING. Though some of the actors fall a bit short in delivering the performances required for such a focused character piece, the story does flow pretty well and by the time the stranger shows up, I did care for the family enough to hope they came out alive. Though this film is admirable in that it worked well within its budgetary restraints, I found the ending of DAWNING to be frustrating. Though I won’t reveal it here, the lack of resolution or clear definition of the threat out in the woods in the end, though creative, left me wanting a bit more. That said, filmmakers who attempt to make films way out of their budgetary restraints (ahem, I’m talking to you SyFy filmmakers of DINOSHARK and the like) could learn a lot from what Holtgrewe does with so little in DAWNING. A dark woods and some patience proves to be a while lot more intense than a badly CGI-ed shark any old day.

FRIDAY THE 13th (1980)/FRIDAY THE 13th (2009) Review

FRIDAY THE 13TH (1980)

Directed by Sean S. Cunningham
Written by Victor Miller & Ron Kurz
Starring Adrienne King, Betsy Palmer, Walt Gorney, Kevin Bacon & Ari Lehman as Jason

FRIDAY THE 13TH (2009)

Directed by Marcus Nispel
Written by Damian Shannon, Mark Swift, & Mark Wheaton
Starring Jared Padalecki, Danielle Panabaker, Amanda Righetti, Travis Van Winkle, Aaron Yoo, Julianna Guill, and Derek Mears as Jason

Pardon me while I wax nostalgic for a moment.

I know it’s going to sound weird, but the magic of movies wasn’t introduced to me by Walt Disney or George Lucas or Stephen Spielberg like most of the other guys who write on this site. For me it was something much darker. Sure I spent long afternoons and even longer nights watching Vincent Price, Christopher Lee and Peter Cushing on horror movie shows on TV, but I distinctly remember one summer when it all changed. It had to be the summer of ‘84. My father had rigged our television with tin foil and a coat hanger in order for us to get Showtime. I know stealing cable was illegal, but we were a family of meager means and since my father passed away a year later, I feel this indiscretion is inadmissible now. Anyway, I distinctly remember playing war with my brother in my backyard and being called in because it was getting dark outside. After much belly-aching, my brother and I sat down in front of our TV to see what was on. What was on would shape me for the rest of my life. What was on was FRIDAY THE 13th.

It wasn’t at that moment that I realized the magic though. The next summer day, my brother and I continued to “ooo” and “ahhh” at the creepy goodness of the original, re-enacting the lines and all of the cool scenes. That night, when we were called in at dark, we sat in front of the television and were witness to FRIDAY THE 13th PART 2. Holy shit! “What form of magic was this?”, we thought. Another night—the second movie!!! How cool was that!?!? The next night, we saw PART 3. The final fourth night was a Thursday. Looking for our magic window into hell expecting another FRIDAY film, what we saw instead was a preview for FRIDAY THE 13th PART FOUR: THE FINAL CHAPTER! Yes, we were too young to be watching this. Yes, there was something wrong with my parents resulting in the grown-up ghoul I matured to be. But I’ll be damned if my brother and I didn’t convince my parents to see FRIDAY THE 13th PART FOUR THE FINAL CHAPTER on the first night it was released that very Friday. A horror fan was born that week, all because of a piece of tin foil, a coat hanger, and a curfew at dark.

Since then, I’ve watched all of the F13 films more times that I can count. I can name the kills in order in most of the first seven, at the very least. Above my bed as a teen, I had a pair of real machetes in an X with a hockey mask of my own design in the middle looking like a modern skull and crossbones and though I haven’t lived there in almost twenty years, that homemade homage to my favorite horror film series is still there in my childhood room. And my very next tattoo is going to be that same image of the hockey mask and crossed machetes as soon as I save up the cash.

Yep, I’m a F13 fanatic.

For the foreseeable future, I’m going to be looking at all of the F13 films eventually every time a Friday the 13th rolls around. Scoff all you want, movie snobs. I don’t really care. Even the worst F13 has some redeeming qualities in my eyes. But with Make / Remake being the theme of the week, I figured we’d start out by looking at the first and the last.

I think even those who scoff at the FRIDAY THE 13TH films can acknowledge that the original is a well made, gory thriller. At its heart it’s a whodunnit, with the villain only seen from the waist down most of the time making his or her way through the woods and killing campers when they wander off alone. With a relatively small and charming cast, a serene locale, a great FX wizard, and some fantastic music, Sean S. Cunningham struck gold where HALLOWEEN had struck just two years prior. When I first saw the original, I hadn’t heard of Mario Bava’s BAY OF BLOOD (aka TWITCH OF THE DEATH NERVE), which FRIDAY THE 13TH and its first sequel borrow from heavily. All I knew was that there was something about this film that struck a chord in me that couldn’t be beat.

The film starts out quiet. A POV cam catches a pair of camp counselors leaving a campfire and finding a quiet cabin to have sex. The counselors are disturbed by someone (someone they might recognize) and are brutally murdered. Yes, we’ve seen these first kills before, but this one sets the stage. It resonates and sets the standard while setting up the mystery; who is this killer? Why do these unlucky camp counselors know this person? Why is this person doing this? Years later, a group of kids try to reopen the camp; including the innocent girl next door Adrienne King (who has all of the final girl qualities; virginal, naïve, yet capable of great strength) and a few others (including Kevin Bacon in his first role). They run into a local crazy man, Crazy Ralph (played by the amazingly creepy Walt Gorney) who warns them that Camp Crystal Lake is jinxed with a Death Curse and are later educated by a local sheriff of the camp’s sordid history. Known as Camp Blood by the locals, much death and horror has occurred along the seemingly serene waters of Crystal Lake. Soon enough, the bodies start piling up until one lone girl is forced to go toe to toe with the killer.

Without Henry Manfredini’s iconic score, FRIDAY THE 13TH would not be the classic that it is lauded as today. I’m not just talking about the “Ch-ch-ch-ha-ha-ha” sound (or more accurately “Kill-kill-kill-ma-ma-ma!”), which has grown into an entity of its own. I’m talking about the wonderful screeching violin crescendos, the twinkling water drop chimes, and the symphonic crashes indicating frights and built tensions. Unlike today’s films which think a fist to a synth board is all you need for a good scare, Manfredini made each second a melodic trip into the unknown, permeating even the lightest scenes with a heavy dose of dread. Look at any of the F13 films after. The ones who use the original score are by far the scariest (more on that later when we get to the 2009 remake).

But Sean S. Cunningham deserves recognition too. He crafted a smart mystery thriller first. Who is this killer? The camp owner set to rebuild the camp? Crazy Ralph? The counselor who lingers a bit too long after slicing a snake to bits in the cabin? The sheriff? Maybe someone we haven’t met yet? That’s the question everyone is asking up until the reveal, and even after the reveal, you may continue to question it (could the boy who drowned in the lake be behind some of the killings? We never do see all of the kills…). It may be cliché now, but Cunningham fills his film with an assortment of friends and suspects, throws them in danger, and has a ball with it; making it a real mystery. Sure, the final girl role had made an appearance in many a film before it, but Cunningham brings everything together in the classic ending in an operatic level of slo-mo macabre mastery.
Adding the diabolical talents of FX wizard Tom Savini was the cherry on top here. He made each effect a showpiece. The artistry he used in this film have become clichéd by today’s standards, but each of the kills are as much a highlight reel for the master talent Savini possessed back then. A simple slit throat is common place in these types of films, but here with Savini’s touch you can actually feel the razor across the skin and imagine how painful and shocking it might be. His work on the drowned boy, Jason Voorhees is iconic as well. Savini warps the young boy just enough to be monstrous and pitiful at the same time. The full body make-up crossed with the subtle acting of Ari Lehman under it all makes that final scene all the more frightening.

In the end, I think it was the fact that the killer is actually a victim too that makes FRIDAY THE 13TH as effective as it is. The rage behind the killer’s madness is somewhat understandable; kids are assholes sometimes. And the way the film caught on and birthed so many sequels is equally understandable given that it plays into the rebelliousness of youth and offers them a boogeyman to fear and root for all at once. But the kids in the original are actually pretty likable compared to the cardboard cutouts that appear in later entries, so you really aren’t rooting for the killer as much here. Unlike the films after it which pretty much use the same formula over and over again, FRIDAY THE 13TH may not have been the first, but it definitely sets the stage for all slasher films to follow.

So by 2009, folks thought it was better to remake FRIDAY THE 13TH than do another sequel. I’ll give it to them, with Jason going everywhere from Hell to space to New York, there really wasn’t a lot of places to go but back to the beginning. One would think that with so many films sequelizing, homaging, and down right ripping off the original FRIDAY THE 13TH film, it wouldn’t be hard to pull off a remake. But no one told that to Marcus Nispel, it seems.

The main problem with FRIDAY THE 13TH 2009 was not that it wasn’t like the films before it. It was the fact that the film played like a greatest hits / cliff notes version of the entire series. Pamela Voorhees is quickly dispatched in the opening segments in a decision that reeks of executive producer decision that people want to see Jason instead of seeing the actual killer from the original. Again, if they really wanted to make a remake and include Jason, why not make it a mother and son Team Vengeance taking out these annoying campers? Or tell the entire story of parts one and two, incorporating what was only told as legend in the original? But then again, what do I know?

With the remake playing more like a greatest hits album, you do get modern takes of classic Jason kills like the sleeping bag kill and other highlights. Jason moves from mongoloid child to bag headed man beast to hockey masked icon in an expedient manner. Fans of the original looking for the mystery that permeated the first will find the film sorely lacking in any type of suspense as Jason makes mince meat out of the cast giving them just enough time for you as the viewer to wish them dead before that with is granted. The WB bunch aren’t nearly as likable and though, since the original, it’s become commonplace to root for Jason in these films, you find yourself rooting a little harder given all of the skank and douchebaggery that permeates this young cast. Along with a cast to root for, Manfredini’s score which played such a huge role in the original, is sinfully missing from the remake as well, aside from the “Ch-ch-ch-ha-ha-ha!”, that is, making the film all the more lackluster.

The storyline is next to nil here, which really is a shame. One would think that if a multi-million dollar budget was tossed at this thing, a script that did more than connect the dots from one kill to the next would have been crafted. Sure this is supposed to be a remake, but unlike Bousman’s expansion of the themes in his remake of MOTHER’S DAY, story wise, the moralistic themes that made the original so resonant aren’t given any screen time at all. Instead we just get a big budget version of every F13 sequel mashed together with next to nothing new added to the story.

But in order to try to bring something new to the table the remakers did two things. They included the addition of marijuana fields in Crystal Lake and Jason’s eagerness to protect them which is a lame attempt by clueless executives to pander to those who chuckle any time the word “weed” is used. But the new way Jason is characterized is actually the best part of the film. Cast as a survivalist, living off of the land, knowing traps and hunting skills, Derek Mears’ Jason Voorhees is one of the best (though I’ll always have a black place in my heart for Kane Hodder). There is menace in his silent slasher and the inclusion of the bawdy woodsman persona who creeps around tunnels under Crystal Lake makes this Jason formidable and one of the more serious takes on the character. The Jason bag mask looks damn creepy (kind of like Cronenberg’s mask in NIGHTBREED without the button eyes) and his hockey masked visage is powerful as well. Mears brings a physicality to the role which is much more imposing and frightening. The fact that Jason runs in this one (as he did in most of the early sequels) makes him all the more threatening. Too bad they didn’t construct a stronger story around the monster.

Anyone watching Cunningham’s version of the film which took things deadly serious and attempted to add some heft in tone and plot and Nispel’s version which was obviously made by folks who look down on the franchise and think that the fans are stupid enough to eat up countless marijuana jokes and mindless kills, know the remake doesn’t stack up one bit to the original. The later films became the clichés. The original was smart, fast, fun, and downright scary. Nispel made a remake of the sequels, not the original, unfortunately. While the original goes for the jugular, the remake feels more like a cheap shot to the balls.

I could go on an on with coulda-beens and shoulda-beens when talking about the missed possibilities of a FRIDAY THE 13TH remake. Maybe if they kept the killer’s identity ambiguous throughout, it would have been better, but then there’d be those who complained because they wanted to see more Jason. As it is, the film is nothing but a young cover band trying their damndest to play a classic tune. And while it was great to see my old friend Jason back in action, I wanted to see the story pushed forward, not stuck replaying the same old song.

I’m sure there are some who will poo-poo my dedication of so much time and energy writing about a silly 80’s slasher film, but though the makers of the remake think that fans of the film aren’t intelligent or aren’t wanting a smarter, scarier FRIDAY THE 13TH, I know there are smart fans out there who see the potential for a really good FRIDAY THE 13TH film and want to see it someday. I’m holding out hope. There’s not another F13 on the calendar until next January sadly. So make the best of this one, enjoy the day and watch a FRIDAY THE 13TH film, if you can. Maybe by the time the next F13 rolls around someone will come along and do Camp Blood proud and take me back to the horrific wonder I felt watching that first film on that summer day back when I was too young to watch and too enthralled to care.

Until next Friday the 13th, folks…


Directed by Henry Saine
Written by Tom Konkle & Devin McGinn
Starring Kyle Davis, Devin McGinn, Gregg Lawrence, Martin Starr, & Ethan Wilde

THE LAST LOVECRAFT is more of a comedy than a horror film, but that doesn’t mean it’s not a fun movie. Though some of the acting is somewhat less than great and the humor doesn’t always hit the mark, THE LAST LOVECRAFT’s intentions are in the right place and I found myself liking the final product quite a bit.

The story follows a young dreamer (Kyle Davis) who spends most of his time goofing around with his opportunist and slightly deranged best friend (Devin McGinn, who also wrote the film). The two are working on a comic book, both sabotage each other’s chances for women, and the friendship couldn’t be more Kevin Smith-ish if it tried. In fact, THE LAST LOVECRAFT is very much like CLERKS, MALLRATS, CHASING AMY, and even FANBOYS for that matter in that it puts the spotlight on geek culture with a slight bend for action.

As I said, this film aims high and though it may not be the blockbuster it’s trying to be, there are a lot of fun scenes as these geeky manchildren attempt to be heroes and save the world from an other dimensional menace. There’s some above average effects in this one and quite a few times, I found myself laughing out loud. Cthulhu heads will have to see this film and while Kevin Smith seems to be trying to do grindhouse films and then retiring, it’s good to know the genre he kind of spearheaded is still going strong. Steeped in Cthulhu and geek speak, THE LAST LOVECRAFT will cause those in the know with all of this stuff to chuckle quite a bit, but if you’re not privy to the mythology, you may not see it as endearing.

SAVAGE (2009) Review

Directed by Jordan Blum
Written by Jordan Blum, Lynn Drzick, Nancy Gideon, & DJ Perry
Starring Martin Kove, Tony Becker, Lisa Wilcox, Anna Enger, Shane Callahan, & Jack Harrison as the Bigfoot

SAVAGE’s premise is a winner; when wildfires rage through the forest, it forces all kinds of animals to relocate, including a giant beast of legend…a bigfoot.

See, hearing that makes my toes tingle. My mind races of shots of raging fires. Rabbits, deer, bears, and birds fleeing falling timbers and clouds of thick black smoke. In my mind, I’m seeing BACKDRAFT meets DAY OF THE ANIMALS with BIGFOOT! I see a final showdown in a flaming forest with our hero and an angered Sasquatch. That movie would be the shit! Am I right?!?!

That…that is not this movie.

To give director Jordan Blum credit, he is working with a limited budget and he makes the best of what he does have. There are some pretty nicely paced shots of action and tension as the pissed off Bigfoot attacks anyone to cross his path. There’s a really nicely shot chase scene in the woods where CGI is used to show Bigfoot running that I haven’t seen before in a Bigfoot film. The Bigfoot runs in a more bestial manner, using his arms and legs when he runs. There’s also a very cool scene where the beast breaks through the window, reminiscent of the classic Bigfoot film, THE LEGEND OF BOGGY CREEK. I like it that Bigfoot moves through the trees and hangs his prey there like a lion. And the opening sequence is very well done, setting the tone that this is a director who knows how to put together an original action sequence. All good stuff. These scenes show ingenuity and spunk despite a limited budget.

This is nowhere near a perfect film though. The acting ranges from decent to sub par. Talkback hero Martin “Fear does not exist in this dojo!” Kove chews the scenery as the Quint-like character in this JAWS with big feet story and Tony Becker has a down home charm that makes his role as the local forest ranger feel genuine (even though I don’t think there’s a scene without him holding a coffee cup…and he’s in half the movie!). On the other hand, out of place Anna Enger looks like she wandered off a runway and into the woods and Shane Callahan does an annoying John Cusack impression for the entire movie as a science guy researching the monster. Jack Harrison plays the Bigfoot with menace and power though; the Bigfoot scenes being the highlight of the film.

With a bit of spit and polish, this could be a pretty good film. The pacing is off. Scenes linger a bit and a good editing would do wonders. The story almost makes sense, but some better actors would sell it a bit better. Like I said, there’s a JAWS plot here that doesn’t have the impact it should, but is fun just the same. In the end, SAVAGE gets points for a cool premise, some decent acting from some, and more than a few nice Bigfootin’ scenes—a lot of which can be seen in the trailer below.

Out of 10 toes, SAVAGE = 6 FOOTS, 5 TOES!