You know, I find myself cursed by Amityville more than anyone because I have the kind of OCD that demands that every single time a new Amityville-related film comes out — however tenuous and damn, they can get tenuous — I have to watch it and document it for you, dear reader. Just like Ronald Joseph DeFeo Jr. felt compelled to murder his family, I feel the horrific pull. And no one dies, except for time which is the resource we never get back.
Imagine my surprise when Amityville Cop, a movie that has nothing at all to do with Amityville, was actually pretty good!
Sure, it’s a ripoff of Maniac Cop, but is that such a bad thing?
Directed by Gregory Hatanaka (Samurai Cop 2: Deadly Vengeance) and written by Geno McGahee (Satanic Meat Cleaver Massacre), this has the requisite cop-killing homeless people, but if he’s powered by a Satanic ritual gone wrong led by Laurene Landon — from Maniac Cop and Maniac Cop 2 — I think all can be forgiven.
Someone yells, “He looked like a cop but he was the devil,” which is a thing I have thought many times. And sure, the humor is forced, the effects are bad, the stock footage is overused and a rocket launcher is represented by fireworks — and oh yeah, no one even says the words Amityville — but I was entertained.
For anyone writing reviews saying, “This is the worst Amityville movie I’ve ever seen,” at least this is only 68 minutes and I have a murderer’s row of Amityville films that are worse.
We’ve all gone to comiccons, right? But have you ever tried to run one of your own? Before you jump into something that huge, maybe you should watch this insider look at convention production.
Husband and wife owners Mike Broder and Sandy Martin run Supercon, an annual three day pop culture convention that celebrates comic books, animation, cartoons, anime, video games, cosplay, fantasy, sci-fi, pop culture and all things geek. The largest event of its kind in South Florida as well as one of the biggest pop culture conventions in the United States, this fhe film shows what it’s like to make it happen.
Are you ready to keep 60,000 attendees happy despite theft, police involvement and bad pizza? How about running a cosplay wrestling league? Are you ready to be surrounded by temperamental comic book and pop culture fans for a weekend?
Seriously, watch this movie before you make the call.
This was a fun film and gives the opportunity to see all sides of the convention experience, from those that run it to those that attend it as guests to the fans that line up. Wherever you find yourself, you’ll discover lots to identify with. If the pandemic has limited the conventions that you attend, this is a great way to get the experience in your home.
You can watch Surviving Supercon now on VOD, on demand, DVD and blu ray.
Author’s Note: Due to the controversial, Christian-religious nature of this film, please note this is a film review that addresses the creative art of filmmaking only, most importantly: what constitutes a “bad film,” why actors pursue “passion projects” (aka “vanity projects”), and the struggles of unknown filmmakers and actors wanting to leave a mark in Hollywood. This review also analogizes similarly-themed films, so as to reach an understanding regarding the creative development of the subject-film and its creator; it also examines the basis as to why streamers give ultra-to-low-budget indie films bad reviews based on said film’s narrative content and not craft in creating the film, itself. This review is not a sociopolitical dissertation intended to incense any reader regarding religious, social or free speech/opinion issues and was written in this site’s ongoing support of independent film.
Thank you for your time and understanding.
After stumbling into-watching the brotherly, Christian apoc sci-fi’er Mayflower II — concerned with a starship ferrying Earth-persecuted Christians to Mars — I decided to give this newly-released (November 2021), Tubi rabbit hole discovery a stream: a stream released, it seems, with no fanfare or promotion (the sign of a true, grass roots, self-produced/distributed indie) as, at the time of this writing: there are no reviews (at least via the popular IMDb and Letterbox’d links) or articles regarding the production or its makers. So we are going into this, so to speak, like the blind man from Bethsaida — with the first (we think) official review of the film, even though it’s been out for a year on pay platforms. (This happens often at B&S with new indies that we strive to support; everyone gets a fair shake, here; thus, we are usually the first reviewer.)
This time, the concern of the anointed sci-fi is the government using a pandemic — in this case, the corona virus — to instill the Revelations-foretold, new world order. Both of these films — Mayflower and 2025 — bring interesting (ultra-to-low-budget) concepts to my streaming platform. Both films — with this one, the debut release by the unknown brothers Joshua and Simon Wesely — are passion-swinging for the fences. As a film reviewer: I’m slipping on the glove to shag the team-Wesely fly at the 410’er inside PNC Park. Since we’ve never heard of them or the film . . . let’s see what this Tubi left-fielder has to offer.
While we discovered 2025 almost a year after its low-key, January 2021 streaming-release, B&S About Movies seems to be the first online critic to review the film proper.
The world is five years into the Corona virus outbreak of 2020 and politicians used the outbreak to instill a new world government. Christianity is outlawed. Constitutions no longer exist. Internet and cellphone communications are strictly monitored. Traveling is illegal. Gathering in social groups is prohibited. And many question if the virus is, in fact, a hoax created to control the masses. Dissident executions are the norm.
In Germany (where this was shot by Deutschlanders), a resistance group of young believers, led by a brother and sister (Joshua Wesely, Antonia Joy Speer), ban to start a revolution: to unite Christians around the world to overthrow the totalitarian regime. Part of the modus operandi is to symbolize the resistance (Does anyone remember the old Timothy Hutton film where he kept spraying “Turk 182” all over New York?) by spraying painting ichthys (Jesus fish) across the German landscape (since it’s on a budget and on-the-sly sans film permits, not effectively; but the viewer gets the “point”; more on that, later). Eventually, as the resistance grows, an ex-Marine helps the resistance fighters escape the authorities. A hacker-savvy government worker also joins the cause. But she may be the unknowing leak — or spy — that brings down the resistance before it begins.
Now, while the brothers’ debut doesn’t possess the scope of, we are reminded of the teen and twenty-somethings “rising up” exploits of the ’80s “Brat Pack” post-apoc’er, Red Dawn, as well as the glut of post-2000-era Young Adult post-apocalyptic films, such as The Hunger Games and Insurgent franchises (and Red Dawn, itself adapted into a box-office failed, Young Adult format in 2012).
Sadly, the many who streamed 2025 back in January were blinded by the mote in their secular, critical eye: the fact that this ultra-to-low-budget science fiction apoc’er is a “Christian” film — one with a deeper, spiritual message regarding faith and how far one will push the envelope preserve one’s faith. So, yeah, this isn’t your usual, A-List summer tent pole filled with Bayos, Bayhems, and perfectly-shed glycerine tears by the doe-eyed offspring of ’70s rock stars pushed to foreground — while narrative content rests in the background: a land where character development and plot logic are of no consequence.
If you’ve surfed around our little ol’ slice of the web for a time, you know us QWERTY-bangin’ farmers of the B&S About Movies cubicle farm in good ol’ Allegheny County love our regional and SOV filmmakers of the ’80s* — of which Dallas and Greg Lammiman (Mayflower II) and Joshua and Simon Wesely are the eventual, digital offspring of that VHS-era.
Scoff as one may at inventive (and secular), against-the-budget indie filmmakers**, such as Philip Cook, who produced Beyond the Rising Moon (1987) for $8,000, and William J. Murray with his shot-in-New Jersey, Blade Runner-cum-Alien-inspired Primal Scream (1988) for 10 Gs, but it’s a fascinating experience to watch young filmmakers tackle the hard-to-tackle-on-nickles-and-dimes science fiction genre. Other passionate, later-day, low-budget auteurs — working equally effectively and passionately — are Robert Goodrich with Ares 11 (2019), Anton Doiron’s $10,000 charming-wonder, Space Trucker Bruce (2014), and Monty Light’s recent, stellar-offering, Space, made from $11,000 in game show winnings.
And I welcome the Wesely brothers to the Salmon P. Chase club: for they made their felicitous feature film debut for a mere $10,000.
Let me say that, again, to the point that was lost on this film’s many negative commenters: this film was shot for $10,000, aka just over 17,700 German Deutsche Marks (since this is a German indie-production).
Ah, but this is a faith-based media endeavor, and disdain for all filmsor books based in religion is the rule. For Christianity = White Supremacy = Christians are inherently racist: all must be Fahrenheit451‘d out of existence — along with any statues, if you got ’em.
Ironically, while streamers call out the film as “Christian persecution paranoia,” those streamers, in turn, justify that very “paranoia” by attacking the Wesely brothers for the very points the auteur duo makes in their film. In addition, those reviewers haven’t advanced beyond their first paragraph of their review to discuss the acting, screenwriter, or cinematography, all the while failing to address the Weselys imaginatively — and quickly — working our today’s pandemic fears into a science fiction film context. Hey, they’re Christians, after all: let’s put on our “racial injustice” blinders and just hate the Weselys for hate’s sake and slag their movie to ensure the ultimate, justified “right” is served.
Makes sense to me.
But that’s okay. For as much I praised the above referenced, ultra-to-low-budgeted sci-fi’ers — so as to give you an idea of the spunk we are dealing with in the frames, here — that’s how much others disliked those films and one, tossed the critical trope: “it was the worst-released film in over 25 years.”
Obviously, those purveyors tripping the cinema light fantastique have never partaken of an Alfonzo Brescia (Star Odyssey, if you’re wondering), Cirio H. Santiago (Stryker, if you care), or Bruno Mattei (Shocking Dark, if you dare) film — films made for considerable more money than any of the other films we’ve talked about in this review. One may not appreciate an uplifting, faith-based message mixed with their sci-fi in the frames, but there’s no denying this film — again, shot for $10,000 — looks great for a film shot for $10,000. This is not a “modern day” Manos: The Hands of Fate — which really is an awful film — by a long shot (and we’ve seen even worse than Manos).
An issue many have taken: the Wesely brothers shot their debut film on Smartphones *˟. (“I can to better on my own phone!” So . . . be like Tommy Wiseau, and “Do It,” then, already.) However, we’re not dealing with a bugged-eyed, saliva-spraying, red-cheeked, apoplectic TikTok-indignancy rant about Corona and Republicans that goes viral for humoresque jabs on a nightly talking heads cable not-news program. The Wesely brothers debut film is well-lit and properly framed: it’s obvious Joshua and Simon Wesely have an understanding of cinematography. That’s evident in the film’s opening car chase sequence — complete with gun fire — when we meet Roy (Joshua Wesely), our revolutionary-protagonist, soon captured by government forces. Again, for a car chase sequence captured on iPhones, it’s extremely impressive. The set-up of that chase, by the way, since we’re navigating a non-linear script, and flashing back, natch, returns at the end of the film, for some more, impressive iPhone-shot action.
That’s not to say there’s not some cinematic faux-pas in the Smartphone’d frames: most of the edits are solid, yet, some are awkward; the same for the camera movement: some shots are solid, even majestic (Roy’s inspirational speech in the middle of farmland, away from listening ears), while other movements are unfocused. The same fauxs apply for some of the acting; either the actors were simply not well-rehearsed or the Weselys painted broad, improv strokes and allowed their actors to free range scenes; so there are those awkward, benefit-of-the-doubt, thespian moments. Of course, when you’re working with only $10,000, everyone is volunteering in front of and back of the cameras the best they can. (And set designing government and military offices the best they can.)
After the initial, promising chase sequence, the action in the film falls flat and becomes expositional-heavy to forward the plot (if I had a nickle for every time an ultra-to-low-budget film shot-on-tape, iPhone, 16-mm, or 35-mm drowned in exposition). Also, at an hour thirty minutes, we experience a bit of narrative drag; a cutting down to a more streaming-acceptable hour twenty minutes (80 minutes), would be appreciated (or, even better: an extended-short format ˟*). There are, however, a couple of nice touches of computer graphics, and the against-the-budget soldiers and military officers decently-outfitted enough.
There’s a lot of great concepts at play, here, but those concepts may have been a bit too lofty to capture on a $10,000 iPhone budget (i.e., the spray painting of Jesus fish symbols that lacks the “scope” to pull the intent). But the brothers Wesely are certainly not incompetent filmmakers. Weak actors, sure, but they’re passion-trying their hearts out — and they’re mighty fine behind the lens (well, phone screen).
So, I’m hopefully the brothers Wesely raise even more funds, so as to allow them to secure the services of more self-assured actors for the next production. And when their next film hits the steaming platforms, I’ll hit that big red streaming button. The Wesely brothers are a pair of passionate filmmakers to watch. Make another film, guys. Like Tommy Wiseau says, “Do it.”*˟*
You can watch 2025: The World Enslaved by a Virus as a free-with-ads stream on Tubi. If you prefer an ad-free streaming experience, you can purchase streams via Amazon Prime, Vimeo, and the Christian Cinema platform via the film’s official website.
Here’s a list of more, inventive, against-the-low-budget science fiction films to enjoy.
* Be sure to surf around our reviews of SOV Films.
** There’s more against-the-low-budget science fiction to enjoy from our recent “Post Apoc” and “Ancient Future” weeks, in addition to these charming spotlights:
Directed and written by Chris Green (Me, Myself and Di; Strangeways Here WeCome), The Pebble and the Boy is a mod-influenced comedy starring Patrick McNamee, Sacha Parkinson, Max Boast (Sex Education), Ricci Harnett, Jesse Birdsall and most familiar to American audiences, Patsy Kensit (Lethal Weapon 2, Shelter Island).
The film’s protagonist, John, is taking his father’s ashes from Manchester to Brighton, the spiritual home of the mods, riding his dad’s Lambretta scooter. With a title taken from a Paul Weller song and music by Weller, The Style Council, Secret Affair, the Chords, The Electric Stars, Wintergreen, Jennifer Knowles and Casino, Sammie Harris and SPINNER, this is a great sounding movie. It also finds Paul growing up, learning the truth about his family and maybe winning over Nicki (Sacha Parkinson), a girl he meets in his travels.
Maybe the mod culture doesn’t translate to our shores, but regardless, I had plenty of fun watching this. I won’t be buying a scooter, but I may be listening to the soundtrack a few times.
We live in an amazing time to be a fan of psychotronic cinema.
Sure, physical media is fighting a constant battle to remain available, but we also are here for an era when any movie, no matter how difficult to find or how cult, is available nearly with the push of a button. For those of us who grew up in the days of grindhouses, drive-ins, UHF monster hosts, cable and/or video stores, the abiity to suddenly watch any more is both astounding and overwhelming.
Yet it wasn’t always this way.
Author Lars Nilsen, a longtime Alamo Drafthouse film programmer and now at Austin Film Society, and editor Kier-La Janisse, genre scholar, author (House of Psychotic Women), programmer and documentary filmmaker (Woodlands Dark and Days Bewitched: A History of Folk Horror), have worked to create a tome that lays down the Weird Wednesdays of the Alamo Drafthouse, the place where many films were uncovered, rediscovered and celebrated.
Weird Wednesdays began at the first Alamo Draft House in Austin, Texas as a series of free screenings of exploitation and horror movies that had been consigned to the scrap heap. The thanks or the blame goes to Tim League, who suddenly found a series of film prints on his hands that no one wanted. So why not share this treasure and allow others to see it for free?
These films form the main body of the American Genre Film Archive (AGFA), who has preserved, restored and distributed hundreds of films that might otherwise have been lost for all time.
Warped & Faded features contributions from Weird Wednesday Hall-of-Famer Gary Kent and genre champions Tim Lucas, Stephen Thrower, Pete Tombs, Maitland McDonagh, Kat Ellinger, Chris Poggiali, Robin Bougie, Mike Malloy, Bryan Connolly, Heidi Honeycutt, Rodney Perkins, Zack Carlson, Kier-La Janisse and more. They share either the heritage of this series of films or provide details on them. There’s also a Hall of Fame series, which includes Gary Kent writing about Al Adamson, Stephen Thrower on Andy Milligan, Robin Bougie on Arthur Marks, Kier-La Janisse writing about Claudia Jennings, Pete Tombs on Eddie Robero, Lars Nelson on Gary Kent, Bryan Connolloy on George “Buck” Flower, Mike Malloy about Henry Silva, Rodney Perkins on James Fanaka, Stephen Thrower on Jess Franco, Lars Nielsen on Joe Sarno, Tim Lucas on John Carradine, Zack Carlson on John Saxon, Maitland McDonagh on Laura Gemser, Chris Poggiali on Lee Frost and Wes Bishop, Kat Ellinger on Matt Cimber, Tim Lucas writing on Mimsy Farmer, Heidi Honeycutt on Stephanie Rothman and Zack Carlson on Susan Tyrrell and Vic Diaz.
Filled with astounding poster art and bite-sized barker copy for each film, this is a movie that will either remind you why you love these movies or spur you on to discovering some new ones. Either way, it’s a gorgeously designed book — Luke Insect did great design work — and has inspired me to seek out some new films for my own personal film festival.
Even if you just page through this and stare at the posters, you’re more than getting your money’s worth. If you dig in, you’ll find a wealth of information and at least one new movie to seek out.
For a list of the films covered in the book, check out our Letterboxd list.
With over four million cases of visual impairment and a million people legally blind, Ethiopia has one of the highest rates of blindness within Africa. . But one man Dr. Samuel Bora is working to make a difference.
As the only ophthalmologist for over 3 million people in rural Ethiopia who provides free cataract surgery to the blind poor, Dr. Bora performs up to 60 surgeries a day for those who would otherwise be forgotten. This movie allows you to step inside the operating room and witness the powerful impact he has on the lives of thousands of people, including a blind mother who has never seen her son.
This is a hard movie to watch, but one that I feel that we all should just to realize exactly how lucky we are. Often, we can forget that and this movie is a brutal reminder.
The End of Blindness will be available on demand from Passion River Films. You can learn more at the official site and also donate to Dr. Bora.
Originally known as Cherrypicker, which was probably too Canadian of a title, Ankle Biters totally took me by surprise and took me on a wild ride with four of the worst behaved kids since Who Can Kill a Child? or Devil Times Five.
Sean, a hockey goon, has fallen in love with Laura, a widowed mother of four young daughters. When their rough arrdvarking alerts the kids that their mother is being hurt — spoiler she isn’t and it’s just roleplay — they plan to protect her no matter what it takes. And what it takes is murder after murder.
Comedy fans will recognize Colin Mochrie as Detective Morton, but otherwise this young cast was all new to me and they excel in all of their roles. There are some shocking moments here from start to finish and at no time was I bored or taken out of the story. In fact, I had a blast and I’d recommend that if you have an open mind, aren’t easily offended and are ready to be taken aback, get this movie and indulge yourself.
The only person I feel bad for is Sean, because the guy means well. His meaning well just makes things worse. And worse. And then even worse.
You can check this out on demand from Dark Star Pictures.
“C’mon man! Stop reviewing all of these shark movies!” — President Joe Biden
It had to happen: After the flying Nazi sharks of Sky Sharks, what’s left? Jesus and sharks, that’s what. And there’s only one indie studio capable of answering the absurd biblical challenge: Polonia Brothers Entertainment*.
Look, Mark Polonia has our respect. When it comes to low-budget filmmakers, no one has his tenacity: his determined, against-the-budget existence began with his best known film, the SOV legend that is Splatter Farm (1987) — which he revisited with a thirty-years later sequel, Return to Splatter Farm (2020). The insanity, however, began earlier, with Church of the Damned (1985) and Hallucinations (1986).
However, you, the B&S About Movies reader, must realize we wee Allegheny mud puppies sold our souls to the devil long ago: we are crossroads-bound to review all David DeCoteau flicks (The Wrong Valentine is our latest altar tribute) and shark flicks. And, it seems, Mark Polonia flicks: both of the Selachimorpha and non variety. Damn you, ol’ Scratch and your one-sided contracts. I didn’t want to be a film reviewer, this badly.
So, without further ado: let’s spill the chum!
So, okay . . . what if the folks at Sunn Classics, who made the overall, #9 1976 box office hit, In Search of Noah’s Ark . . . went searching for the Ark . . . only to find it . . . protected by an ancient curse that guides a prehistoric great white shark?
Oh, sweet baby Jesus of Nazarene!
We have a witch’s curse, a botched exorcism that ends in pedophile charges (she really was possessed; the Devil lied), Noah in an off-the-rack Spirit Halloween get up, his shipwrights-chosen son Japheth tempted by a talking demon shark that’s pissed it didn’t get a spot on the Ark, a “haunted” hunk of 2×4 from retrieved from Mountain Ararat*˟, and an Ark that makes the Templar’s schooner of Amando de Ossorio’s The Ghost Galleon look positively real.
Oh, yes, Mr. King: this is a real movie. Oh, yes.
May have been in the actual movie: ’70s-era Noah’s Ark Arco Gas Station Premium. Skeletal Templars not included. Sharks sold separately.
Well, that’s what happens in this Christ-c(h)um-sharksploitation tale as a discredited, fame-seeking televangelist/priest (is there any other kind) finds a last-chance gig a with film crew that sets out to find the fabled Noah’s Ark — and the Selachimorpha you-know-what hits the stone tablets.
Oh, wait. Stone tablets: That’s not Noah. That’s Moses.
Oh, no! I just planted a seed for a Polonia-pollination of The Ten Commandments and sharks. What have I done?! Moses and the 10 Sharks . . . no, wait, I got it: Shark Exodus.
Wait. Even better. . . .
The remainder of the Dead Sea Scrolls are sealed in a fabled, jewel-encrusted golden canister at the bottom of the Dead Sea — you know, sort of like when Antonio Margheriti hired Lee Majors and ripped off Piranha (which ripped off the Spielberg film that started our celluloid Selachimorpha obsessions) and made Killer Fish. Let’s call that one: Dead Sea Sharks.
Wait.
Set the next biblical shark in the Red Sea . . . remember when Moses parted the waters . . . then brought those waters down on his enemies? Well, there’s antiques down there to salvage . . . but there’s an anointed shark in the holy waters protecting the holy spoils. Obviously, that one is Jurassic Shark 3: Holy Moses!.
Look, there’s nothing more to say about Noah’s Shark: You’ve seen the streaming one-sheet. You know our Polonia love. You’ve read my ramble-babble about the Polonia biblical madness. Watch the trailer and go for the red button or not: so proclaims the 11th Commandment. Oh, just do it. Let the power of Christ, compel you.
You can stream Noah’s Shark on your favorite VOD platforms beginning November 16, 2021, through Wild Eye Releasing. You can learn more about the prolific madness of the writer behind Noah’s Shark, John Oak Dalton, courtesy of his August 2021 interview with Richard Gary at the Indie Horror Films blogspot and a February 2020 interview with Mike Haberfelner at Search My Trash.
Come explore the mutual, SOV resume of Mark Polonia’s long-time associate, Jon McBride.
* There’s more insights to be had by way of the two-part documentary short Mark Polonia: A Life of Monsters, Mayhem, and Movies. You can also remember the late John Polonia (1968 — 2008) with this tribute video. You can also pick up a copy of the recently published biography, Monstervision: The Films of John and Mark Polonia, from Amazon.
** Obviously, Mr. King doesn’t realize he’s talkin’ smack about another of our favorite SOV’ers: Donald Farmer is also responsible for our ’80s direct-to-video favorites Cannibal Hookers and Scream Dream. Now do you get why we dig Team Polonia?
*˟ In 1993, George Jammal had what he called “sacred wood from the ark that survived The Great Flood,” retrieved from a dramatic mountain expedition. In fact: Jammal and scholar Gerald Larue never went there: they retrieved some railroad tracks and cooked the wood in an oven — along with some blueberry and almond wine, sweet & sour barbecue sauce, and iodine and teriyaki sauce. Poof! 2x4s from Noah’s Ark.
Welcome to the Dune that your grandmother bought you for Christmas because she gets confused and doesn’t know what you kids like. This is the Dune you bring home from Walmart and your wife yells at you because you got the wrong one and your kids cry and she wonders why she married you. This is the Dune you buy at a gas station. This is the Dune that has Sean Young starring in it in 2021. This is the Dune that has prerendered CGI explosions and a red filter over everything and sandworms that would look better if they’d just film worms in actual sand. This is the Dune made by Glenn Campbell and not the one we called the Rhinestone Cowboy, riding out on a horse in a star-spangled rodeo, getting cards and letters from people he don’t even know. This is the Dune that looks like people cosplaying. This is the Dune that has no mysticism or spice. This is the Dune that is Tremors. This is the Dune that made me question my life choices and why I can’t sleep and why I’m up all night writing about a fake Dune when I could be sleeping and when I’m dead and buried, people won’t be like, “Well, at least he gave us his all and wrote articles about fake blockbusters,” they’ll just say I wasted my potential. This Dune doesn’t believe fear is the mindkiller. This Dune I actually watched.
Kate (Lora Burke, Lifechanger) and her daughter Beth live alone in an isolated house in the woods, but something dark is intruding into the hide-and-go-seek games they’re playing on Beth’s ninth birthday. It turns out that they’re in this home in witness protection, as Beth’s father may have killed a young girl. Or maybe Kate did it. Or maybe the vigilantes who appear and capture Kate did it. But people are going to get their nails ripped out and lives are going to be destroyed if it means discovering the truth.
Craig David Wallace and co-writer Ian Malone worked on the fun series Todd and the Book of Pure Evil, but this film comes from a much darker place. I honestly don’t want to reveal all that much of what happens next, except to say that no one in this film is trustworthy other than they all want what is best for their children. And that takes makes them manipulative and destructive beyond belief.
Kristen MacCulloch is great here just as she was in a completely different role as the central villain (well, perhaps even worse than the hero) in Psycho Goreman.
You can check out Motherly on demand and digitally.
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