Walker’s life changed once he was in The Fast and the Furious. But he strived to give of himself and to charity, as well as raise his fifteen-year-old daughter, who had just moved to Los Angeles from Hawaii at the time of his death.

The really interesting part is that despite working hard and struggling hard to be credible, Walker never really considered himself an actor. For example, his take it or leave it attitude led to him turning down the role of Superman for four movies. He just didn’t see himself in that sort of role or being typecast.

I really enjoyed seeing and hearing more about Running Scared, a movie that I feel is underrated. Walker delivered in that film and it’s a film that I’ve gone back to several times and enjoyed more and more with each view.

Sadly, Walker’s death still feels pointless. Hearing what a great person he was doesn’t make it any easier to understand. It just makes it even sadder, as Walker left behind not only a big career but a major hole in the lives of countless people.

I Am Paul Walker originally played on the Paramount Network, but is now available on demand and on DVD with 30 minutes of additional footage. Visit the official site to learn more.

DISCLAIMER: We were sent this film by its PR team but that has no bearing on our review.

Have you ever said to yourself, “I’d like to watch a super young James Spader with weird looking bleach blonde hair menace a super young looking Lori Loughlin to the point that I worry for her safety?” If so, you’re a maniac. But hey, you’re on our site, so we have to be nice and tell you that this movie exists. It’s Sean Cunningham’s (Friday the 13th) 1985 opus, The New Kids.

No offense to our friends from Horror and Sons, but Florida is the most frightening state in the nation. Just ask Abby (Loughlin, years before she became Aunt Becky or a convicted felon) and Loren McWilliams (Shannon Presby, who quit acting soon after this movie and became a lawyer). Their parents (Tom Atkins is their military hero dad!) have been killed in an accident and they’ve moved to Glenby, a small town that seems way more like hell — and not the happiest place — on Earth. Their Uncle Charlie (Eddie Jones, C.H.U.D., Q the Winged Serpent and Johnathan Kent on TV’s Lois & Clark: The New Adventures of Superman) and Aunt Fay (who did American voices for Gamera the Invincible and Godzilla vs. Hedorah) take them in, getting them to help them operate a gas station and amusement park, which is based on Santa Claus. If you’re willing to accept this entire paragraph and still say, “I’d watch that movie,” congratulations. You’re as goofy as me.

The kids do pretty well in their new life, with Loren instantly hitting it off with Karen, the vivacious daughter of the local sheriff. And Abby starts seeing Mark, who is played by Eric Stoltz, who also made Mask and lasted five weeks as Marty McFly in Back to the Future the same year that this movie was made.

What gives us the dramatic reason for watching this movie? Eddie Dutra (Spader) and his gang suddenly intrude and remind us that Flordia may be the home of Disney, but it’s also the nexus for American death metal. These boys just randomly do coke and make bets as to who will have nonconsensual sex with Abby first.

Dutra and his gang gradually grow more and more vicious, keying cars and even throwing Abby’s beloved pet rabbit’s bloody corpse at her while she attempts to take a shower — a scene that reminds you that Cunningham may be working for a major studio here, but he has roots in exploitation.

Finally, there’s a showdown at the amusement park that the kids call home, with Dutra covering Abby in lighter fluid and throwing lit matches at her (!) while his gang holds her down and fights over who gets to molest her.

It all ends with the bad guys attacked by dogs, thrown from the Ferris wheel, electrocuted and beheaded by bumper cars, and finally, Dutra lit ablaze by a gas pump that he has turned into a flamethrower. No, I don’t think that gas pumps work that way, either.

Becca woke up and came downstairs to watch some of my late night viewing of The New Kids and said, “This is one of those movies where they just show you stuff that happens to people and it’s all horrible. In fact, this movie is horrible. Who would even like this kind of movie?”

This is when my wife learned that I’m the kind of person who would like this kind of movie, which confirmed my theory: no one can be that good at being a lunatic without being a lunatic. There’s some dark stuff in Spader’s closet, right? Well, according to this Movie Web article, every year Spader and Stoltz get together to watch The New Kids together.

Mill Creek has released The New Kids on blu ray, complete with retro VHS packaging. They’ve been re-releasing some really interesting films as of late and the quality of the transfers has been pretty great. Plus, they’re very affordable and easy to find at stores like WalMart. I’m a big fan!

Christmas horror is the best time of the year — who wants Halloween to go away so soon? And who is ready for Christmas so early? It’s a great way to ease into the holidays. Thankfully, Paul Andolina is here with another seasonally perfect movie. Want to read more of what Paul has to say? Then check out Wrestling with Film.

I’m back for yet another guest review on B&S About Movies, this time around it’s the 2018 film Mrs. Claus. A sorority house is struck by violence 10 years ago when after vicious pranks take their toll, a recent addition to the Delta Sigma Sigma sorority flips out and kills one of her fellow sisters at a Christmas party. She then hangs herself in the yard. Fast forward 10 years and the sister of the girl murdered has become a sister at the same sorority.

It’s Christmas yet again and someone dressed in a creepy mask and Mrs. Claus costume is killing everyone at the recently revived annual Christmas gathering. This movie borrows its inspiration heavily from other holiday-themed slasher films, namely Black Christmas and Silent Night Deadly Night with its families with troubled pasts, a sorority plagued by a violent history, and some surprising plot elements sure to throw you through a loop.

This movie is low budget but that doesn’t mean it lacks heart and it I think it was a good effort overall. There are some things that had me scratching my head that didn’t make sense but it was still entertaining. The movie is largely confined to the Delta Sigma Sigma house, but the festive decorations of the sorority really do help bring the film some holiday charm that so many lower budget Christmas horror films tend to lack.

The actors were decent, with the actors portraying Kayla and Jake being strong points in my opinion. The lead actress who played the main protagonist Danielle was also very good. The effects when used were excellent with plenty of red syrupy blood that made me think of candied apples. Brinke Stevens from the Slumber Party Massacre movie is in the film as campus security and seeing her in a genre role will certainly tickle some slasher fanatics’ fancies. Brinke Stevens also has a small connection to films that star wrestlers as she has an uncredited role as an extra in the film … All the Marbles.

… All the Marbles is about a female tag team called the California dolls. It stars Lenny “The Bull” Montana and Jumbo Hori, a female Japanese wrestler.

If you’re looking for a newer film to check out that involves a killer on Christmas this may fill your slasher stocking with some much needed goodies. The kills are festive and overall it was a satisfying way to spend 86 minutes. Make sure to sit through the credits or you’ll miss some important stuff related to the plot.

Mrs. Claus is available to rent on Amazon Video or if you’re lucky enough to still have a Family Video around you mine had it in stock. If you feel like picking up a copy Amazon also has it on DVD. It’s also availble as a free-with-ads stream on Tubi.

We’ve covered Zombi 2 before. If you’ve spent any length of time speaking to me, no doubt you’ve probably heard me go on and on about either this movie or another Lucio Fulci film. But the truth is, Blue Underground new 4K version of Zombie is the absolute best looking version I’ve ever seen, making it feel like I’m seeing one of my favorite movies for the very first time.

There’s a fact covered by both Stephen Thrower and Guillermo del Toro on the bonus features of this blu ray that sum up why this movie is so essential: when other horror films only promised shock, this is one of the first times that it was truly delivered. Even though Romero’s Dawn of the Dead is packed with Tom Savini’s trademark gore, the zombies therein are blue and colorful, the blood is neon red and there are moments of slapstick and humor. There is none of that in Zombie. From the moment the police arrive upon the boat, everything is filthy, covered in grue and worms and festering decay. The dead here are truly dead, continuing to rot, spreading their putrefaction onto the living as they rise from shallow graves, mouths full of insects.

The collectible booklet features a new essay by Stephen Thrower that highlights a very important point. No matter how successful this film is — both artistically and financially — it has never been appreciated. Even an Academy Award-winning filmmaker like del Toro can proclaim that this is one of his favorite films, one that features an economy of art and storytelling while feeling like it emerged from another world, a film that could not be, made by a borderline insane director who has “gotten high off his own supply.”

How much do I love Zombie? I have three copies of it: on DVD, then I upgraded to Blue Underground’s 2K blu ray a few years ago and now, this 4K reissue. The first time I saw it was at the drive-in and a pivotal moment sold me on the film: during the infamous moment where Olga Karlatos meets a giant shard of wood eye first, someone opened their car door and puked all over the parking lot. That’s the kind of review that means more than any of the horrible reviews that appear in Thrower’s essay.

There are moments of sheer bliss here. What other movie has the audacity to include a zombie fighting a shark underwater, in a scene of breathtaking stuntman bravado? Even hardened gorehounds have to pay respect to this film that doesn’t flinch from horrific moments of flesh being devoured. Where Herschell Gordon Lewis promised a camera that did not look away and showed you the fakest of blood and guts, here realism and disgust rule the day.

Zombie is the movie that reignited Fulci’s career. It is the film that created the golden age of Italian splatter cinema. And it’s proof of one of my maxims: in a world of elevated horror that desperately wants to escape the exploitation ghetto, this is a movie that can never and will never be embraced by the mainstream. It is too raw, too brutal, too slick with blood.

Blue Underground’s new 4K version looks as gorgeous as a film about zombies tearing out peoples’ throats can look. I’ve always been in love with the look and color tones of Fulci’s late 70’s and 80’s output. The effect is multiplied here, looking at once clearer and grimier than it ever has before.

This three disk package includes new commentary by Troy Howarth, author of Splintered Visions: Lucio Fulci and His Films, as well as the Ian McCulloch commentary track, trailers, TV and radio spots, gallery and del Toro intro from the 2K blu ray. A second disk contains the extras from that package and a third disk contains the soundtrack to the film. Best of all, there are three different covers, with your choices of a zombie’s face, the zombies on the bridge or the injury to Paola’s eye.

My only negative — and it’s incredibly minor — is that the enclosed book is difficult to read with its white on black type. Several of the pages appear to have printing that is off register, resulting in thin and difficult to read type. If you have older eyes, reading Thrower’s essay is near impossible, which is a shame because its packed with valuable insights and information, much like his interview on the disk itself.

If you are a horror fan and this movie isn’t in your collection, you don’t have a collection. If there were a word stronger than essential or mandatory, that would be the one I would use here. Other than a crowded theater or drive-in with an engaged, appreciative and loud audience, there is no better place or way to watch this film than this new edition.

You can grab it for yourself on Blue Underground’s site.

Disclaimer: Thanks to Bue Underground and their PR team for sending us a copy of this set. That has no bearing on this review, as obviously, we were going to love it no matter what.

I watched Slumber Party Massacre 2 before I saw the first one. I really don’t think this interfered with my enjoyment of either of the films as they have only the smallest bits of connectivity. They share drills, murder, mayhem and a character or two. I’m willing to bet I’ll feel the same way about the third film and where it fits in.

Directed by Amy Holden Jones (who wrote Mystic Pizza, Beethoven and Indecent Proposal, in addition to directing Corvette Summer) and written by Rita Marie Brown as a parody of the slasher genre, this film is but the first of three female directed drill killer starring slasher send-ups.

Originally known as Don’t Open the Door (the Italian title for The Texas Chainsaw Massacre), this movie is all about Trish Devereaux-Craven (Michelle Michaels, who shows up in Death Wish 4 and New Year’s Evil) throwing a slumber party while her parents are out of town. That event takes place just as Russ Thorn, an escaped mass murderer, is out looking for blood and targets for his power drill.

Russ kills Linda (Brinke Stevens, thanks for your service) in the shower before the party even begins. Then he comes after the basketball playing party girls — Kim, Jackie and Diane — as well as new girl in school Valerie (Robin Rochelle, Sorority Babes in the Slimeball Bowl-O-Rama) and her little sister Courtney.

There are some boys, some mischief and plenty of drilling mayhem, as well as a pizza guy who sacrifices himself and his eyes (alert Fulci!) so that the girls can get their grub on. Russ survives all manner of mayhem and deals it out in kind before succumbing to being beat with a fireplace poker, losing his drill bit and left hand, then falling into a swimming pool and stabbed with his own machete.

While originally written from a more feminist and satirical perspective, this was shot as a straight film. It doesn’t approach the dizzying lunacy of the sequel, but it’s an enjoyable enough waste of your time.

Want to see it for yourself? You can order it from Shout! Factory or stream it for free on Amazon Prime.

The artwork for this article comes from Tim Monster, whose site features amazing screen prints and posters. Order a bunch now!

Miami is known for sports and diversity. And for the players on the Miami Heat Wheels team, their hometown is also rich with second chances and the opportunity to prove that their wheelchairs don’t hold them back from anything. The Rebound follows the team for an entire year, from defeat at the national championships to the road back.

Shaina Allen and Michael Esposito made this their first film, growing close to several of the players as they share the stories of their lives and why they’ve been drawn to the sport.

Mario Moran, Jeremie “Phenom” Thomas and Orlando Carrillo, along with their coaches, friends, family and even other Paralympic athletes are all featured to help tell the tale. The final four games — all played in one day — of the championships are really well shot and edited, drawing you in the drama even if you don’t know all that much about basketball. The stories here are pretty much universal.

Want to know more? Check out the official site.

Pail Andolina from Wrestling with Film is jumping in to help out this month with some Christmas horror reviews. He’ll be sharing several over the next few weeks, so if you have the holidays and horror, good news!

It’s that time of year, the time for Christmas fear. I find the genre of holiday horror fascinating. It is a time usually associated with happiness and celebration but the genre likes to skew those things in favor of the gritty ugliness of the world. Nowhere is that more prevalent than in my viewing for the evening, Good Tidings.

Good Tidings is a film from the United Kingdom that would never fly in per-certification England. It’s ugly, it’s mean spirited, and although it centers around a homeless veteran with a heart of gold, in the world it portrays, no good deed seems to go unpunished. Whereas most good deeds are rewarded, our protagonist Sam’s deeds for the local homeless who have taken shelter in an old courthouse are met by hellish slayings by 3 deranged men in Santa costumes.

At the beginning of the film, a drunken Santa impersonator is killed by three masked men in hospital gowns who discover a small cache of Santa costumes in the boot of their victim’s car. We then meet Sam, our good natured veteran on the hunt for some food for his friends back at his shelter, on his route he is approached by another vagrant, John, who is hungry and begs to come with Sam. They arrive back at the building where he and his friends have taken up residence but the car full of demented Santa Claus have spotted them and chooses them as prey. Tying up the doors to the outside and rigging most exits with holiday-themed booby traps, the men go on the prowl to deck the halls with bowels of the lowly.

Although the movie is two years old I’d hate to go into more detail about the film as it’s something that really needs to be watched by anyone who enjoys horror. This movie feels like a movie that would be shown in seedy parts of the city or scratchy screens at the local drive in in the 70’s or 80’s.

The soundtrack is mesmerizing, it is full of old school synths, and grindhouse grooves. The soundtrack also seamlessly melds holiday tunes into far more sinister sounds. The antagonists are mostly mute throughout the film except for excited shrills, shrieks, maniacal laughter and guttural growls. A majority of the dialogue in the film is between the homeless occupying the courthouse and apart from the first half of the film, dialogue as a whole feels scarce.

The emotion in the film is largely conveyed through soundscapes and visuals. All in all Good Tidings was a very pleasant surprise for me and it’s a shame I’ve waited so long to finally give it a viewing. Among the many Santa killer fronted films this one rises to the top of them. I don’t hear or read much about it but it is deserving of repeated viewings and I do recommend it to everyone who likes their Christmas dripping with red and mean.

Good Tidings is available on Amazon Prime.

Released with The Witch Who Came from the Sea and The Premonition as part of Arrow Video’s American Horror Film Project, this movie is all about the Norris family looking for their lost son who got lost at an evil carnival. As a cover, they get jobs working in the carnival. And then things go wrong…

The carnival’s manager, Mr. Blood, is a vampire. Go figure, with a name like that. Meanwhile, the evil owner Malatesta is in charge of an entire army of goons who watch silent movies and eat human flesh. Hervé Villechaize from TV’s Fantasy Island is one of them.

After directing this movie, Christopher Eric Speeth went on to work in documentaries. This film is, well, a mess. You’re never sure when something is a flashback or a dream; things appear in a fuzzy multicolored haze, much like you’ve been staying up all night doing drugs and listening to overly loud jam bands. I’m not saying I don’t like it. I’m just trying to tell you how it is.

If your idea of a good time is watching people do autopsies while singing show tunes, then you’re on the right spectrum for this one. Want to see it for yourself? It’s on Shudder.

Yes, there are two movies called Secret Santa. This one is from 2016, the other is from 2017. This kind of leads to confusion when you’re trying to get more info on a movie, but that’s the kind of investigative journalism that I guess you’ve come to expect from this site. Also, I wrote this review at 6 AM on a Monday when I should really be sleeping, but that’s definitely the kind of thing you expect from this site.

A group of college kids are in the midst of finals whole a slasher is taking them out one by one. They also decide to have a holiday party complete with a Secret Santa gift exchange, just so the title makes sense. It takes nearly an hour to get to the actual point of this film: the secret Santa gifts point to how the killer will off each person.

The filmmakers shot this on video, but added in film grains and pops to give it a 1970’s patina. Obviously, it owes a lot to the original Black Christmas. There’s some interesting gore — the film starts with a power drill kill and a torn out eyeball, so there’s that. There’s also a pretty grizzly knife to the head effect and a black gloved killer, so obviously, that was all it took to get me to make it through this film.

I guess if you watch one holiday themed horror film this year where the killer is fought off with a giant black rubber dong, you should choose this one.

Your mileage may vary depending on how much you enjoy low budget digital horror. Want to see this for yourself? Good news. It’s free on Amazon Prime.

Nobody sees this movie as a classic. But I do. It’s from a moment of great joy, when I was 11 years old and sitting beside my father and uncle at the Majestic Theater in Ellwood City, PA, as they proceeded to laugh so loudly during this film until you could no longer hear what was being said. My memories of this movie make it mean more to me than anything in the Criterion Collection.

Montgomery “Monty” Capuletti is the role that Rodney Dangerfield felt was closest to who he really was. He lives hard, he drinks too much, he gambles and he lives to smoke pot. He’s the only Italian member of an Irish family of rich folks who own a department store, Monahan’s. He also ruins nearly everything he touches, from his job as a photographer to his daughter’s (Jennifer Jason Leigh!) wedding cake and marriage to Julio (Taylor Negron!).And his best friends — Nickey Cerone (Joe Pesci!) and Paddy (Tom Noonan!) — are just as sloppy and messed up as he is.

That’s when the film’s challenge happens. His wife’s mother dies and Monty stands to inherit all $10 million of her will if he can give up drinking, drugs and gambling, plus lose weight. Much like all great 80’s movies, I have given you the plot and simply follow with this statement: hijinks ensue.

You get so much in this film. You get real life pedo and full-time movie asshole, Jeffrey Jones, doing what he does best, be an asshole. You get Taylor Negron saying the lines that Anthrax would use in their song “I’m the Man.” You get a store that’s only open 23 hours a day. And you get the real guy look, the fashion line that Monty inspires.

Director James Signorelli only has one other movie to his credit, Elvira: Mistress of the Dark. But he has been involved in the making of Saturday Night Live off and on as a producer, plus he also worked on the crews of Black Caesar, Phantom of the Paradise and Superfly. This movie is a quick trifle, but it makes me laugh every single time. It’s running time is a blur and it always rewards multiple viewings with just as many laughs.

If you are an Amazon Prime member, you can watch it for free.