Legend Of The Hillbilly Butcher

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With a title like that and a deliberately faded, washed out look that is reminiscent of some recently discovered grindhouse gem this is a film that is going to leave some people very disappointed.

You see this is essentially an art film disguised as horror, or maybe it’s vice versa but either way it isn’t what you expect.  And I for one have to admire director Joaquin Montalvan for trying to expand the slasher genre.  Whether it actually works or not is another thing.

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My Name is “A” By Anonymous


My Name is “A” By Anonymous is a disturbing, unsettling film that explores the consequences of adolescence gone awry. Based on real events, its plot is an adaption of the story of Alyssa Bustamante, the teenage thrill killer from Missouri who killed her neighbour, 9-year old Elizabeth Olten in October 2009. Obviously with such touchy subject matter, My Name is “A” By Anonymous is no light viewing. It drags the viewer into the demented world of young girls who commit violence against themselves and others whilst looking at the conditions which lead to these extreme acts.

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In a little Mexican village radiation is poisoning the water and American scientist Dr. Torres is there trying to solve the mysteries of the deep, or at least the lake. Mysteries like why does his voice not match his lips, why is it so dark all the time and why does a plastic octopus have human eyes? This plastic octopus gets Torres excited but when he whips back over the border to get more funding he finds the scientific community want nothing to do with him so he’s forced to accept the backing of a carnival owner who is hoping to bag himself a freak for the carny.

Carny brings his buddy Bert Reynolds Jr along for the ride too. By the time they get back over the border to Mexico all the doc finds though is his friend’s corpse and an empty bucket. The plastic octopus is gone!

A couple of leftover Spaghetti Western actors then wander on set and tell the tale of Octaman, a many armed, tentacle legged half man/half beast who, after the doc shares a brief dialogue about pollution, turns up to take out a couple of the locals. No more western movies for those guys. Luckily the good looking one survives so he can continue to help the gringos out. Good thing too cos it turns out Octaman has his eye(s) on the doctor’s gal and attacks the camp while the doc, the carny and Bert are out on the lake looking for him. (now there’s an episode of River monsters I’d like to see!) Occy gets the gal but the doc and Bert discombobulate him with lights (too many eyes you see) and then form a ring of fire to burn up the oxygen around him! An ankle high ring of fire it must be pointed out but it seems that Occy isn’t smart enough to lift those tentacles over the flames so he collapses and is netted and tranquilised by a very happy Carny crew.

But nature has a way of fighting back and when it rains, the water revives our many tentacled rubber skinned fiend who is less than happy at his surroundings and once again escapes.

When our intrepid heroes decide to get outta town they discover that though Occy isn’t smart enough to step over the flames he is smart enough to topple trees on the road and trap them Our Mexican friend then tracks Occy down to a cave and invites the rest to follow. Of course they get trapped down there too since nighttime isn’t dark enough in a shitty, low budget way, a dank dark cave is perfect for making sure you can’t see shit.

In the end they find their way out to sunlight where Occy starts the party with a great rendition of Devo’s Whip It Good. I won’t give away anymore cos hell, I fell asleep so I don’t know what happened. (actually that’s a lie, I stayed awake for the whole thing but the end was so dull I’ve erased it from my memory).

This movie is bad beyond description, not helped by the “digital remastering” that seems to just mean it was dubbed straight from VHS to CDR – there are times when you seriously cannot see a thing but then again that just may be a blessing.

Featuring very early FX work by Rick Baker, the Octaman is actually pretty cool for a zipper wearing, rubber suited whatever he is but in the end you get what you paid for, so don’t pay too much.

An eco- disaster movie where disaster has more than one meaning, Octaman promises so much more than it delivers but then come on, what else did you really expect?

Octaman is available on DVD from Cheezy Flicks / MVD Visual.

Interview: Ursula Dabrowsky

Ursula-DabrowskyCrimson Celluloid: From conception, gestation to birth…it’s been a long wait for INNER DEMON. Have there been times when you’ve been sick of the sight of it and dying to move onto something else?

Ursula Dabrowsky: It took two and a half years from go to woe which isn’t that bad for a no budget feature. Having said that, it definitely wasnt meant to take this long . Yes, there were times it was very frustrating, but if I was resilient before, I am now even more so. Throw anything you want at me, not having enough money, hiring the wrong people for the job, technical issues that, at the time, seem impossible to resolve, and I will push through it all and get the film finished. I am so fucking resilient now, it scares me.

Crimson Celluloid: What kept you going?

Ursula Dabrowsky: Drugs and alcohol. Kidding. I was excited by what I had shot and wanted to see the finished film. I really believed I had something special on my hands, particularly in terms of performances.

Crimson Celluloid: What lessons did you learn from your experience on FAMILY DEMONS that you carried over to INNER DEMON?

Ursula Dabrowsky: That I can make films that people will sit through and not get bored. That I cast well. That I come up with good stories. That I will make mistakes and learn from them and never, ever repeat them. That making horror films is where I want to be.

Crimson Celluloid: It was a brave move casting a relatively unknown actress in Sarah Jeavons in the lead role. Especially considering she had to carry the whole film. What qualities did you see in her in the audition process that convinced you she was right for the role?

Ursula Dabrowsky: I already knew Sarah could act from a couple of taped auditions. But we also had a one-day test shoot where she was crammed into this tiny closet. She didn’t complain once and she delivered take after take after take. She was also very keen to get the part. All those things sold me on Sarah.

Crimson Celluloid: Your decision to cast her was vindicated when you see the final film, she does an amazing job. Were you conscious of having to guide and protect both her emotional and physical well-being during filming, especially given her young age?

Ursula Dabrowsky: Not really. Sarah was able to take care of herself. I was quite blown away by her maturity. I was never that mature at her age. Shes bloody amazing, on and off camera.

Crimson Celluloid: I can’t think of too many other films where the film is told virtually entirely from the perspective of the lead character…do you think it really aided in feeling sympathy for her plight?

Ursula Dabrowsky: I love films that are told with only one point of view and minimal cast. Films like High Tension, Buried, 127 Hours, Gravity. I find them to be powerful cinematic experiences. Unfortunately, most of the main characters in these films are doomed. Mine is no exception.

Crimson Celluloid: How grueling was the shoot in comparison to FAMILY DEMONS. Does a bigger budget simply mean bigger headaches?

Ursula Dabrowsky: If I had paid everyone on Family Demons it would have come pretty close to the budget I had for Inner Demon. So there wasnt much difference there. I still found that I had to make just as many compromises as before. The main difference is that, when I made Family Demons, I didn’t have any expectations. With Inner Demon, I did. I wanted to surpass what I’d done before, so the pressure was on, and it got pretty stressful at times. I’d like to ease up a bit and find a happier, more joyful middle ground with the next film I make.

Crimson Celluloid: The supernatural element to the film comes late in the piece and out of the blue. It’s effective and very scary…how important is the element of surprise in your work?

Ursula Dabrowsky: I’m surprised that people find the supernatural element comes out of the blue. Granted, it is unconventional what happens to the lead character and maybe the audience finds it difficult to accept and refuse to take it on board. I don’t know. For me, it makes sense that things happen they way they do. Perhaps it’s a question of the execution, and I’m willing to take that on board, but I had limited resources and did the best I could with what I had. Twists and turns in the story are paramount. It’s all about keeping people interested in what’s going to happen next.

Crimson Celluloid: You’ve never played the gender-card, and that’s admirable, but did you find being a woman in charge of the film production offered any unexpected or unwelcome challenges?

Ursula Dabrowsky: Up until the Inner Demon experience, I never had any issues with my gender as a filmmaker. I did on this shoot. I just ignored the bullshit and pushed on. Cuz that’s what it is. Bullshit. I’m also fully aware that men with less experience than me are being offered better opportunities. I try not to think about it too much, and just stay focused on my own filmmaking journey.

Crimson Celluloid: How has the film been received by those lucky enough to see it already?

Ursula Dabrowsky: I’ve been told that it’s a strong calling card that will help me get my next film financed. So that’s encouraging.

Crimson Celluloid: Given your films and persona, what do you think surprises people when they actually meet you?

Ursula Dabrowsky: That I’m funny. And I laugh. A lot. I guess people expect a horror filmmaker to be morbid and serious, but I put my dark side on the screen and not in my every day life.

Crimson Celluloid: There seems to be a stigma these days in regards to funding horror films where the limp-wristed, panty-waist funding-bodies are concerned. Did you have to keep this in mind when pitching the film?

Ursula Dabrowsky: Panty-waist? Ha ha! To be honest, I didn’t have any issues with the SAFC when it came to content. I was lucky with Filmlab in that I was offered carte blanche and was free to write what I wanted. Stephen Cleary, my Script Consultant, never once asked me to tone it down. In fact, the opposite. My next screenplay, Demonheart, was recently funded for SAFC script development and I wrote it without any hassles. So have I been lucky? Or does the SAFC get it? I dont know. I still havent dealt with Screen Australia, so perhaps I will face obstacles there. I hope not.

Crimson Celluloid: Have your past experiences in life shaped you in regards to your interest in females-in-peril and horror movies?

Ursula Dabrowsky: The underlying themes in my work are usually about the abuse of power, both by men and women. I don’t discriminate. I take a particularly traumatising time in my life where psychological or physical abuse has occurred. I then raise the stakes and wrap the story in the horror genre . What comes out are survival stories. Not terribly complicated, and yet utterly cathartic.

Crimson Celluloid: I was surprised that you received some negative feedback about your POZIBLE funding project to finish the film. To me it showed dedication and commitment, in that you wanted to touch-up the film and finish it to your high-standard, did the negative feedback (albeit limited) surprise you? Also, it must have been pleasing that so many people had faith in your vision and wanted to contribute?

Ursula Dabrowsky: You must know something I don’t! I had no idea that there was any negativity. I must’ve been too busy just trying to finish the film to notice and even if I had, I tend to ignore the naysayers. My cast and crew had put time and effort into the film and had something at stake. They were as keen as I was to see the finished product.

Crimson Celluloid: What’s next on the drawing board for Ursula Dabrowsky?

Ursula Dabrowsky: I am currently on board to write and direct a segment of an all-female directed horror anthology and a segment of a horror web series. I’ve been sent some horror screenplays that producers want me to direct. The fact that they are being sent to me is bloody fantastic. I’m also working on the third installment of my Demon Trilogy: Demonheart. So despite the fact that I didn’t have to die to go to hell making Inner Demon, I’ve come out the other side with plenty of opportunities to keep growing and learning as a filmmaker which is what you want.

Check out Crimson Celluloid’s review of INNER DEMON here.

Savages Crossing

SavagesCrossingORDER DVD

When Sue (Angela Punch McGregor) finds out her estranged husband Phil (John Jarrat) is about to be released from prison, she’s terrified. She cleans out the bank account, puts through a call to a friend named Chris (Chris Haywood), packs up her teenage son Damien (Charlie Jarratt, John’s real-life son) and heads out of town in a hurry. They wind up at an outback roadhouse at Savage’s Crossing, where the owners Kate (Jessica Napier) and Mory (Craig McLachlan) tell them they’re about to be stranded, as the rain’s going to flood the nearby rivers. Sue and Damien are soon joined by two young women on holiday, and are all set to make the best of it when Phil turns up having tracked Sue and Chris from their home. Sue’s friend Chris (who may or may not be a cop sent to bring Phil in) is not far behind, and the group are forced into closer and closer proximity by the rising floodwaters.

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Inner Demon

InnerDemonOne of the greatest joys in life is enjoying the success of friends…only eclipsed by the sweet nectar that is the failure of enemies.

I can happily report that Ursula Dabrowsky has lived up to, and exceeded, the promise shown in her debut feature Family Demons (2009) with the second film in her Demon-trilogy, Inner Demon.

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Matthew Gunnoe Interview

ThepitCrimson Celluloid: For the uninitiated what can you tell us about The Pit?

Matthew Gunnoe: The Pit is about three vacationing hot chicks that become lost in the Florida swamplands. In doing so, they become captured by a family of insane meth-runners and a government agency that wishes to conduct experiments on them with an alien that crash landed in their swamp.

Crimson Celluloid: What was the most challenging part of working on a horror film with such a low budget? What is the budget you are working with?

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Pop Skull


For Daniel (Lane Hughes) life is at a crossroads. His existence in blue collar Alabama suffered a huge body blow when he was dumped by his girlfriend Natalie (Maggie Henry). While she is off with her new actor boyfriend, Daniel seeks solace in over-the-counter drugs and pills.

Unfortunately for Daniel, the self-medication backfires. Despite the clumsy but well-meaning intentions of his redneck best friend, the chemicals only accelerate Daniel’s descent into darkness and loosen his grip on reality. To top it all he begins seeing ghosts and figures who may be a figment of his broken mind…or they might just be real.

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