"Mahal marked the beginning of a new era for Bollywood films and showcases a marriage of Western filmmaking sensibilities with Hindi religious beliefs. Amrohi elevates gothic storytelling with Bollywood's trademark music and dance numbers, making the story all the more complex and melodramatic. Mahal is a perfect introduction to the world of Bollywood horror, and overall an integral part of film history." - Mary Beth McAndrews, Nightmare on Film Street

"The film lasts a mere eighty minutes and, with the possible exception of a fight scene between two men that feels more at home in one of the popular lucha libre films of the time, not a moment is wasted. Though there is nothing original at all about it (in addition to its murderous title character, it has a crippled manservant and a madman in the attic), the film is so tightly constructed, the narrative moved along so propulsively, and the experience of watching it so consistently and thrillingly strange, that it rises above the also-rans to become a minor classic of its genre." - Matt Bailey, Not Coming to a Theater Near You

"This is a powerful film that leaves quite an impression. Gance told the French government that the film could be used as a recruiting tool, so they allowed him to film at the front (he captured part of the Battle of St. Mihiel) and the footage was used in the movie. He was also able to use soldiers on leave as extras in the climactic scene where the dead come back to life. Most of the men used in this scene were in the army and were tragically killed weeks later. Still, they had seen battle in the trenches of France and you can tell by the looks on their faces that they weren't acting so much as reacting to what they had experienced." - John Sinnott, DVD Talk

"Mexican director Fernando Méndez crafts astoundingly atmospheric visuals and writer Ramón Obón spins a dizzyingly suspenseful story, both creating an unforgettable film with The Black Pit of Dr. M. The visuals of the long halls of the arcane mental hospital, the dense fog, the Doctor's villa and the dark shadows will strike you first. There are certain shots that are framed to perfection, including one scene that features the starkly back-lit gallows, which rival any of the classic Universal horror films for their gothic mystique. Secondly, you will notice that the story of intrigue builds upon itself and never leaves a dull moment. Not only that, but time is adequately taken to properly develop the characters as the story unfolds. While the gorgeously gothic visuals help grab your attention and establish the dark mood of the film, it's the compounding storyline that keeps building that really sets this masterpiece apart." - Sarah E. Jahier, Fatally Yours' Horror Reviews

"Considered one of the scariest music videos of the 90's (or possibly ever), the video is nothing short of a pure nightmare. Directed by famed music video visionary Chris Cunningham, the video features glitched out environments (that were also used in Kubrick's A Clockwork Orange), dog piss that activates a demon television, and quite possibly the most hideous horde of children you'll ever see. Definitely not safe for those who suffer from seizures, this video is bound to leave images in your head for, well…the rest of your life?" - Jonathan Barkan, Bloody Disgusting

""Hell's Ground" is being touted as ‘Pakistan's first gore' movie, and while it certainly offers more blood and guts than the original "Saw," it is still relatively tame by Herschel Gordon Lewis standards or the recent American remake. It is surprisingly effective, with the cultural perspective adding spice to the mix (the well to do teens speak English, for example, until adrenaline reduces them to their native tongue; Baby's mother is ostensibly seeking a wife for her son). In addition to the "Saw" like shot compositions, Khan uses plenty of visual and aural Lollywood references and even a few animated asides. The acting is above average for the genre, with Baby a unique treat." - Laura Clifford, Reeling Reviews

"Utilizing elements of expressionism, surrealism, film noir, psychoanalysis and dream symbolism in creating a thorough psychological profile of our troubled lead, this was way ahead of its time. There's a mother-dominated Psycho a good decade before Hitchcock's famous film, with even the classic line "We all go a little mad sometimes" equaled with us all having a "bloodthirsty beast that dwells in our hearts." And its usage of surrealism and eerie, distorted sets to get inside a disturbed head came 15 years before Polanski's Repulsion. The acting is good all around, with a highly effective showcase performance from de Córdova, who does a superb job descending further and further into madness over the course of the film." - Justin McKinney, The Bloody Pit of Horror

"It's a fun movie, but it's nothing really original or innovative. Borrowing liberally from "The Shining", "The Evil Dead", "Texas Chainsaw Massacre" and "Psycho", and adding a pinch of Filipino horror to the mix, it's still pretty odd, mostly due to the subject matter, but also due to the strain of very black humor on display, with a few moments (mamma hanging from a window by her very long tongue) garnering chuckles, proving that the people behind this at least know how to have fun. There's also some nice gore, a few genuinely suspenseful moments, a good enough score by Ken Brahmstedt (dig the weird electronic effects), an interesting subplot, and a fitting, bleak conclusion." - Joseph Howell, Talk of Horrors

"As so many other horror films are, El fantasma del convento is essentially a morality tale. Adulterous couple Cristina (Roel) and Alfonso (del Campo) become lost one night while attempting to find a good make out spot. Enter a bizarre guide of sorts – is it ever wise to follow a stranger in a horror film? – who leads the pair to a foreboding monastery... don't let a little predictability deter you from seeing this beautifully shot and eerie film. For those of you who are fans of Matthew Lewis' 1796 horror novel, The Monk, you will certainly see the book's influence in the film." - Geoff Fogleman, Bloody Disgusting

"It's almost as if director Yuthlert Sippapak (Killer Tattoo) filmed three separate movies; a romantic drama, a comedy and a supernatural horror, and edited them together in post production. And guess what? It works!... This movie has real scares, I kid you not. Buppah's make-up bears more of a resemblance to a deadite then to the typical J-horror vengeful spook, and forget the whole crawling slowly towards her victim business… Buppah skips merrily, and quickly towards her terrified targets. The movie also appeases the gore junkies with a gooey little hacksaw scene, and finishes off with a particularly macabre ending." - Jon Condit, Dread Central

"Robin Redbreast is a damnably chilling affair. Norah is an intriguing character, one who plays against type and smashes taboos with almost every action. From pre-marital sex, to smoking when pregnant, she portrays the anguished femininity of a post hippie fallout. Cropper is remarkable; strong and confident, yet vulnerable and helpless at the same time. Much in the same way as The Wicker Man is an elaborate game, littered with clues; Robin Redbreast is equally filled with oblique moments of partial exposition. Norah is provided with several sly nods as to what the residents have in store for her, but she misses almost every one." - Colin McCracken, Diabolique Magazine

"Subdued lighting renders Wolf Ruvinskis' monstrous appearance all the more horrifying, as does the actor's depiction of Guillermo Santata as a boyish, dashing sort with a flirtatious streak. His transformation to a rampaging creature drives the film to a precipitous finale—but it is his abrupt and jarring lapse from heroism to victimization, early on in the proceedings, that renders the film a study in terror. Méndez' use of the wrestling-ring demimonde—seedy and energetic, with an assortment of colorful eccentrics—provides a vivid backdrop." - Michael H. Price, Forgotten Horrors Vol. 7

"Adapted to the screen by two legendary figures of early Mexican cinema, Carlos Noriega Hope (of "Santa" fame) and Fernando De Fuentes (who would become a famous filmmaker on his own right), "La Llorona" is based on a story by A. Guzmán Aguilera which is essentially the narrative of the two most famous variations on the legend of "La Llorona", framed by a modern tale of mystery and horror, making technically a collection of three stories linked by the legend... [it] may not be the best horror movie of the 30s, but as the very origin of the Mexican tradition of horror film-making (and one of Mexico's first talkies) is of great interest and importance." - J. Luis Rivera, W-Cinema

"This is a severely scary film, and certainly not for the faint of heart. First time director Sourabh Usha Narang has skillfully manipulated sound and cinematography to great effect, and sincerely ensured a large part of his audience sleep with the lights on... Most of the productions originating from Ram Gopal Varma's Factory these days are slickly made and cleverly edited, but this substantially raises the bar. From bizarre transitions to surreal angles, the cinematography is ingenuous, and complemented by some inspired editing. There are several shots where characters converse while the camera lingers elsewhere, triggering off a flood of ‘oh, then this must mean...' thoughts in your then-hyperactive subconscious." - Raja Sen, Rediff.com

"Superior [to the 1913] version, thanks to some moody direction by Henrik Galeen (who was involved in either a writing or directorial capacities in an astonishing number of German horror movies, such as both versions of THE GOLEM, WAXWORKS, ALRAUNE and NOSFERATU) and a fine, powerful performance from Conrad Veidt, who may actually have been the finest horror actor of the silents and is here reunited with his CABINET OF DR. CALIGARI co-star Werner Krauss... there's a real power in the growing horror of the story, and the final sequences in which Veidt is stalked by himself are absolutely chilling. In a sense, there's no other horror movie out there quite like this one" - Dave Sindelar, Fantastic Movie Musings and Ramblings

"The diminutive death-dealers carve an astonishingly creepy presence here; and are among the most unforgettable of the Mexi-horror canon. Played by either midgets or small children, the performers all wear what look like wax masks. These facial appliances never move when they breathe, so there's a realism that adds to the eeriness of these calculating doll monsters creeping towards their victims with poisonous needles ready to pierce your flesh... Aside from some goofy moments here and there, Alazraki's picture does a surprisingly good job of building suspense; and delivering frighteningly spooky creatures in the form of the macabre countenance of the killer dolls. If you haven't seen it, fans of the genre are in for a treat" - Brian Bankston, Cool Ass Cinema

"In many respects this might have been a play rather than a film, which is one of its strengths and whilst starting with a level of exploitation quickly finds its feet as an excellent drama... this is not a film for those looking for pure horror, as it really isn't, this is an intelligent film that explores humanity and despair. It is one that you will have to really search out but is well worth the effort and shows just how good a low budget film can be if the correct script and actors are used." - A. Boylan, Taliesin Meets The Vampires

"Alraune's embrace of her own amorality and her lack of interest in pleasing men that strive to exert control over her is honestly admirable, making this one of the more emotionally complicated and even occasionally feminist silent films, despite it utilizing a highly unlikely foundation for delivering that message. Director Galeen helped bring to life some of the most sympathetic monsters of the silent era, and Alraune fits in as one of those hopeless outsiders like Nosferatu or the Golem. Helm does an incredible job of portraying her, and the unrepentant power that emanates from her is enough to give chills even nearly a century later." - Sara Century, All The Right Movies

"What would you do if you had a completed film "in the can," so to speak, but a disgruntled lab worker at the processing facility where it was being developed set fire to the place and destroyed 40% of your movie, leaving you with just over an hour of usable footage, all from various unrelated segments of your flick?... Well, that's what happened to B-movie auteur Doris Wishman in 1982... I'm not going to claim that Wishman accidentally found greatness with the end product here, that dire circumstances proved to be an act of serendipity that resulted in an unheralded horror masterpiece. There's a reason A Night to Dismember isn't regarded as a slasher classic — it's just not very good. But it certainly should be seen by any true B-movie aficionado. The fact that it even exists is a testament to Doris Wishman's sheer determination and/or desperation — probably both." - Ryan C., Trash Film Guru

"While the film's sparse setting is no doubt a result of its limited budget, director Wisbar makes it a strength by infusing it with an overbearing gloominess. This is actually a remake of his own film, Fahrmann Maria, and he ports the gothic leanings of his native Germany over in this translation. While it's not as overtly stylish and expressionist as early German horror, Strangler of the Swamp is bathed in shadows, mist, and moonlight and feels like a spectral dream not unlike The Vampyr. The persistent presence of the ferry recalls Charon and the River Styx, and it's almost as if viewers are transported to a dismal underworld inhabited by the sprits of the living and the dead." - Brett Gallman, Oh the Horror!

"Dorothy Burgess excels in the role of Nita, with her ominous looks and wild-eyed dancing. Neill and cinematographer Joseph August bring a great sense of dread to the proceedings, and the shadowy camerawork is film noirish in its execution (pardon the pun). BLACK MOON isn't particularly scary, but has enough good moments to qualify as horror. It's an obscure title that's rarely seen today, and is worth going out of your way to find, especially for Golden Age horror completests." - Gary Loggins, Cracked Rear Viewer

"Wellington and company throw a lot of shit at the wall in an effort to see what sticks here — part comedy, part Lynchian absurdist nightmare, part gorefest, part low-grade soap opera, The Carpenter confidently, and nearly seamlessly, blends genres left and right in an effort that some may call haphazard, but others will appreciate for its sheer bravado and for the consistently ethereal tone it maintains throughout these numerous changes." - Ryan C., Trash Film Guru

"Ostensibly a remake of Hitchcock's Rebecca, Kohraa fared poorly, according to Hemant Kumar, because Nag couldn't decide to make it either a ghost story or a psychological drama sans haunting presence. But that ambiguity--"kohraa," after all, means "fog"--seems intentional. Everything about Kohraa--from the plot to the cinematography--seems crafted to thwart the average viewer's expectations. The result is an arty noir ghost story that could have been filmed by Maya Deren taking conflicting, oulipian instructions from Fritz Lang and Robert Wiene." - Gary, Ghost World: Bollywood Noir

"Though slow going, the writing and production values are competent and Nakadai does a good job pacing out his character's decent into amorality and mental deterioration; full-blown psychosis overwhelms his character by the very end. The primary characters are all strongly defined individuals and the entire supporting cast does well. There's little humor here; it's mostly grim, oppressive, murky, the lighting is consistently dark and the film doesn't play favorites (the innocent people die along with the guilty)." - The Bloody Pit of Horror

"As for the story, Magic Cop has a plot that has been done countless times, but thanks to Stephen Tung Wai's direction, the imagination on the Taoist monk scenes and the supporting cast, the film is fun from beginning to end. Wai's film direction is good, with good pacing (although it takes quite a bit to really begin) that adds energy to the film, but it is Wai's action direction that stand out. Wai's action direction has always been about efficiency rather than flash (see the Jet Li film Hitman and his choreography in films like Reign of Assassins) and it shows in Magic Cop." - Harris Dang, easternKicks

"It's rare to find a movie that genuinely shocks while still maintaining its artistic integrity, but Mojica does it here, and delivers the goods that any horror fan should find satisfying. A natural bridge between the Coffin Joe films and the madness of Awakening of the Beast, this is a truly wild anthology show demands attention and reverence, outstripping even This Night... in terms of shocking perversity and eerie, disturbing effectiveness." - The Vicar of VHS, Mad Mad Mad Mad Movies

"It's part your usual summer camp movie, part slasher (though with a low body count) - but also part political metaphor, as the whole thing can also be understood as an allegory for the police state, which rather hit home given the political situation of Czechoslovakia in the 1980s. And add to that some typically Czech humour and that people's predilection for the macabre and you've got ... not a perfect movie, it stays too close to teen camp and slasher mainstays for that, but a very interesting historical document - made up as a shallow horror flick." - Mike Haberfelner, (re)Search my Trash

"First aired on the BBC on 23rd December 1979, Leslie Mehagey's Schalcken the Painter is lush, weird, postmodern and creepy. Based on Joseph Sheridan Le Fanu's 1839 ghost story, both works craft an unsettling fiction around real 17th-century Dutch painters, Godfried Schalcken and his tutor, Gerrit Dou. Pitching his script as an arts lecture that morphs into a horror story, Megahey plays with Le Fanu's use of historical figures by presenting the film as a documentary, a trick aided by its screening as part of the arts series Omnibus. The film meticulously recreates the interiors made famous by the Dutch masters, lifting them from the gallery wall, and having our protagonists inhabit them." - Stephanie King, Electric Sheep Magazine

"There is not a second where you get the impression that Ruminov isn't in control over what is shown and what isn't. There's also a fair share of Sogo Ishii to be recognized, especially when the camera is racing behind the characters. It creates a lovely mood and it's rare to see camera work like this that well done. Ruminov also remains in control over the audio at all times, never reverting to loud scares but carefully building up an atmosphere. Add to that some snappy and precise editing, and even people with dulled-down senses will be pleased with Dead Daughters." - Niels Matthijs, onderhond.com

"Let me reiterate that this is the best Filipino horror movie despite some flaws and missteps. The originality to the premise, unique antagonist, and outright scares are all wonderful. The mystery can be a tad predictable, but the pacing keeps you engaged to the end. The flower girl herself is creepy and intimidating even if the makeup effects are sub-par and unworthy of such a cool ghost. The actors turn in decent performances, and I have to give a shout out to my girl Boots! Though the film does end on a lackluster note, this doesn't detract from the ride up to that point. Overall, this is a severely underrated entry into the Asian horror market that I believe many fans need to check out." - Ryan, Ryan's Movie Reviews

"Mr. Ingram again shows his genius in bolstering up the interest in scenes by his imagination and his keen attention to detail. The accuracy of the little ideas in this film is enough to make one marvel. One appreciates that a story might be dull and ordinary, but in Mr. Ingram's hands it appears on the screen with subtlety, polish and spark. Except the setting of the Sorcerer's Castle, everything in this picture is exactly as it should be... There are sequences that are so diverting that they make a short story in themselves... Paul Wegener, with good make-up, gives a restrained but thoroughly effective performance as the blood-hunting Dr. Haddo." - Mordaunt Hall, New York Times

"Here's an obscure Edgar Allan Poe adaptation from England that was made more than a decade before the more famous Roger Corman production. Fans of Poe may be a bit divided on it as it's not really faithful to the source material. And while it's not exactly good or anything, it's an interesting enough curio piece that at least has a handful of atmospheric moments... The opening sequence where a bunch of old men sit around telling each other spooky tales is pretty cool though. (It was probably the inspiration for Ghost Story.) But other than that, The Fall of the House of Usher is only worth a look if you absolutely HAVE to see every Poe movie ever made." - Mitch Lovell, The Video Vacuum

"Neville's film is not exactly good, but it certainly is fascinating. In many ways it's like a rather corny Universal horror movie of the '30s (featuring a few performances that would show even Lugosi in an impressive light); but no Hollywood film-maker - with the possible exception of Whale or Browning - would pepper a plot with such delightful nonsense (the ghost of Napoleon turns up at one point) and grotesquerie. The Spanish taste for the fantastic, the bizarre and the surreal is much in evidence, and one is left breathless by the sheer audacity of the ludicrous plot. It can, of course, be seen as an allegory on the state of the nation after the Civil War, but is best viewed as weird but wonderful wackiness." - GA, Time Out London

"The Devil Bat was a big hit for PRC and The Flying Serpent more or less follows the same basic outline. Unlike that flick, The Flying Serpent is relatively low on chills and chuckles and takes itself very seriously. The special effects aren't bad for the time (and budget), although you can see the marionette strings that holds the monster up sometimes. Zucco is OK in the lead but he's no Bela Lugosi, whose wonderfully hammy performance made Devil Bat the classic that it is. He does seem pretty convincing while giving Quetzalcoatl his little pep talks though. I have a soft spot in my heart for these Poverty Row horror movies from the 40's... The serpent attack scenes were a lot of fun and the scant 58 minute running time flew by." - Mitch Lovell, The Video Vacuum

"The Monster and the Girl is definitely one of the strangest pictures ever made. And when one hears what the plot is, one expects it to be one of the worst films ever made. Surprisingly, Monster turns out to be a fairly effective and entertaining little "B" flick - and not one that gets by just on camp value... Stuart Heisler's direction is lively and totally committed; his work gives no sign that he is not approaching this story with total seriousness, and he's aided by good atmospheric contributions from Victor Milner." - Craig Butler, AllMovie

"In "Rattle Rattle", a girl is transported to an alternate dimension and chased by a psychotic, wraith-like bitch. With a non-stop tempo, this is very lean and satisfying. "Hagane" is a spectacular romantic comedy horror about a guy who goes on a blind date with a woman who (for some unknown reason) covers the upper half of her body with a potato sack. This mind-numbingly weird entry is a resounding success in terms of originality, humor, and frightfulness. "Inheritance" is a well-made, deliberately-paced possession film that focuses on child abuse. Overall, this anthology is essential viewing even for the "Hagane" short alone." - Erik Ebossert, Cult Reviews

"The film never comes across as corny, which is too easily done with a mockumentary, and instead harbours impressive realism. Footage of the cannibal is divided up into segments with detectives giving their thoughts on murder, cannibalism, and the psychology of both. They give an interesting parallel to the first-hand evidence of such horrific crimes as they are carried out by McAlistar. ong Pigs, though not without its flaws, is a promising effort; a study of a well-written, multi-dimensional character who brings a whole new meaning to the term "maneater", portrayed tremendously by a fine actor who I'd like to see more of in the future, just preferably without such a distasteful habit." - Stuart O'Connor, ScreenJabber

"Soulmate unspools in its own stately, majestic pace, allowing its characters to develop and the ethereal mood to swell. Walton is beguiling; her porcelain beauty imparting fragility and fortitude, and Wisdom is suitably scary: his ghost is frustrated and desperate, credibly menacing rather than arbitrarily vindictive. Soulmate's look is one of studied, poetic beauty, and when so many genre flicks aspire to a shiftless lack of visual sensation, Soulmate's considered lights and shadows; the redolent mists, the flickering candles; are to be applauded. Soulmate is a film to curl up inside." - Benjamin Poole, The Movie Waffler

"This is a so bad it's good film. Trash film producer Jerry Warren took an uncompleted film, finished it with mainly lots of bad bikini dancing, advertised horror legends Carradine and Chaney Jr., and produced an incomprehensible yet compelling mess. Film involves a town of devil worshipers locked in a power struggle between dueling warlocks Carradine and Chaney Jr., who never appear on screen together. How could they? They were making different films! The whole mess is populated with actors who, besides the leads, look nothing like devil worshipers. The plot sort of resembles a dark arts version of Peyton Place with the screen's cheapest werewolf mask. This barely released film, which amazingly has atmosphere, must be seen to be believed." - Doug Gibson, Plan 9 Crunch

"The first talkie horror film was also the second ‘all-talking' motion picture from Warner Bros — director Roy Del Ruth's The Terror (1928), a stage-bound adaptation of Edgar Wallace's play regarding a haunted house terrorized by a homicidal asylum escapee. The film's many ads capitalized on the new feature of sound (creaking doors, howling wind, organ music), heard with the Vitaphone sound-on-disc process: "It will thrill you! Grip you! Set you into tremors of awe. HEAR this creepy tale of mystery - the baffling story of a detective's great triumph. With voices and shadows that will rack your nerves and make you like it. Come, hear them talk in this Vitaphone production of the play that has gripped London for over 3 years."" - Tim Dirks, AMC FilmSite

"The story concerns a cop searching for his partner kidnapped by organ transplanting criminals: but it is told in a non-linear fashion through a series of shocking and surreal images that are truly grotesque and disgusting. Everybody is sick and perverted in some way, the events portrayed may be too strong for even hardened gore-hounds to sit through. How to describe it? Imagine Cronenberg's VIDEODROME body-horror times ten, but with even less coherence. After a while, the viewer becomes numbed to the steady procession of insanity, forgets about trying to keep track of whats going on, and begins to get sucked into the nightmare world on display." - Snowblood wielding a Masamune

"Amalgamating aspects of Phantom of the Opera (a shadowy figure skulking behind the scenes of a theatre production), typical vampire movie traits (victims found drained of blood) and the slightest hints of possession movie conventions (hypnotism, meddling with the past), Theatre of Blood is always intriguing though at times feels a little haphazard. Gallu imbues proceedings with deliciously Gothic flourishes such as secret passages behind bookcases, eviiiiil hypnotists, damsels in distress, individuals dogged by their past, hooded killers, grisly murders and the creepy theatre setting itself. There are also a few creaky clichés, including portraits with spy-holes in the eyes and cobwebby dungeons beneath the titular venue, but they only add to the film's spooky charm." - James Gracey, Behind the Couch

"It's not a horror movie, but by tapping in to its strong Gothic roots, and by shooting several of the scenes with a gloomy and forbidding atmosphere, it has the feel of a horror movie on occasion; there are spooky cobweb-filled passages and a frightening face in the window just for starters. It also has fine performances from all, with special mention going to Katina Paxinou, whose hard-drinking French governess character is unsettlingly creepy. It takes a while to get rolling, and some of the pacing is awkward, but it builds up to a truly satisfying climax." - Dave Sindelar, Fantastic Movie Musings and Ramblings

"Really, genre fans have pretty much everything they could ask for, and even the most jaded of Cat III aficionados should have no complaints. This, of course, means that it's probably not a film for viewers without strong stomachs, flexible sensibilities, or those who don't find it amusing to see Elvis Tsui having his head transformed into a giant penis. In fact, there is a rich vein of lowbrow humour running through the film, which is a definite plus, as it blunts, to a degree at least, the sadistic, misogynistic edge so common in Category III. It goes without saying that the film is still way in the red zone of immorality, though cheerfully so, and without leaving too much of a bad taste in the mouth – if nothing else, the film probably sets a record for the sheer number of wirework airborne sex scenes featured." - James Mudge, easternKicks

"A nearly perfect monster movie of the old school, compelling in its humane approach to its titular monster, The Man and the Monster is emotionally intense. Far more than physical violence, drooling monsters, and pulp-style thrills are emphasized. Souls and sanity wait in the balance as man struggles with his conscience (or lack thereof). Not a typical creature feature, the major themes of sacrifice, price, and personal Id/Ego vs. the welfare of society are played out in operatic fashion. A neglected dark masterpiece of tension and visual aplomb, 'Monster kids' will get a kick out of the shlocky makeup of Sameul, who resembles a shaggy cross between a dog and a werewolf. The enticing grotesqueness of the story is mirrored by dazzling shot nightmare set-pieces. Baledon creates a morally challenging fable, one which is pleasing as both a horror film and moral allegory." - William P. Simmons, SexGoreMutants

"This is more a film about strange ghost occurences than outright gory horror stuff. If you can get used to the mildness of the whole thing then you may find some amusement, and Simon Lui ties everything together with a sometimes annoying, but fittingly overdone and amusing comic performance. What makes this film interesting is the crossing narratives, as characters reappear in different stories, and even narrator Peter Butt gets involved in the final story. The nifty framing device makes the individual tales more interesting than they would be alone, and despite the fact that there's no payoff, the ultimate feeling is one of mild amusement." - Kozo, LoveHKFilm

"Ring wasn't just effortlessly scary - it didn't come out of nowhere. Hideo Nakata had already been trying out how to scare audiences with a ghost girl all the way through Ghost Actress, which makes it an interesting watch. Strangely, the ghost is seen many more times than in Ring - here she's more active, more vocal and more hands on!... well-acted, atmospheric, occasionally creepy, but a little too brief at 73 minutes - you're left wanting more story, including a better reason for the haunting. But it's a lively precursor to the terrifying Ring-cycle" - Mark Hodgson, Black Hole DVD Reviews

"There's more to this than a simplistic idea that sexually free and flirty young women will excite men and arouse feelings of jealousy among women, although that's certainly a cereal point. For one thing, the gender divide is not absolute – the other main female character is not irrationally hateful towards the young woman, while the older generation, both male and female, wish to persecute her. It's less about a fear of female sexuality as it is about the way the old resent the young because of their vibrancy, their energy and their beauty." - David Flint, The Reprobate

"One can't help but think of Roger Corman and his productions of the fifties and sixties when hearing the story of the [sibling writer-directors]... not only have they succeeded in moving the project forward until it is finished, but the result is neat, solid, fearful, atmospheric... it gets to be, at its peaks, as ambiguous and fascinating as Polanski's best (think of films like Rosemary's Baby or The Tenant); and the technical and narrative challenge... of making a film in a single space is carried forward with enough skill to make us believe that this is not Orozco's first film." - Andres Borda Gonzalez, ochoymedio.info [Translated from the Spanish]