Our old pal Leatherface and the folks behind TEXAS CHAINSAW 3D would like to wish you all, boils ‘n ghouls, a very…happy new year in a new trailer created just for the holidays. And, well, if not happy, at least gory as all hell!


The film is being directed by John Luessenhop from a screenplay by Adam Marcus, Debra Sullivan and Kirsten Elms. Dan Yeager, John Dugan, Bill Moseley, Alexandra Daddario, Sue Rock, Tania Raymonde, Scott Eastwood, Gunnar Hansen, Tobe Hooper, Paul Rae, Keram Malicki-Sánchez, Ritchie Montgomery, Trey Songz, Marilyn Burns, Shaun Sipos, Thom Barry and Richard Riehle star. It’s been rated “R” by the MPAA for “strong, grisly violence and language throughout.

The film hits theaters on January 4th, 2013.

And because you’ve been a bunch of naughty (which, in my world, means oh so nice) boils ‘n ghouls, here’s a new clip from the film as well, titled “Gate Crash.” Let’s just see how that works out, shall we?


Texas Chainsaw 3D continues the legendary story of the homicidal Sawyer family, picking up where Tobe Hooper’s 1974 horror classic left off in Newt, Texas, where for decades people went missing without a trace. The townspeople long suspected the Sawyer family, owners of a local barbeque pit, were somehow responsible. Their suspicions were finally confirmed one hot summer day when a young woman escaped the Sawyer house following the brutal murders of her four friends. Word around the small town quickly spread, and a vigilante mob of enraged locals surrounded the Sawyer stronghold, burning it to the ground and killing every last member of the family – or so they thought.

Decades later and hundreds of miles away from the original massacre, a young woman named Heather learns that she has inherited a Texas estate from a grandmother she never knew she had. After embarking on a road trip with friends to uncover her roots, she finds she is the sole owner of a lavish, isolated Victorian mansion. But her newfound wealth comes at a price as she stumbles upon a horror that awaits her in the mansion’s dank cellars…


Twisted Twins Jen and Sylvia Soska, along with Tristan Risk, introduce the first clip from the upcoming follow-up to their debut DEAD HOOKER IN A TRUNK, AMERICAN MARY. Check it out below!


AMERICAN MARY tells the story (a  metaphor for the Soskas own journey through the independent film industry) of a medical student named Mary Mason (Katharine Isabelle) who grows increasingly broke and disenchanted with medical school and the established doctors she once idolised. The allure of easy money sends a desperate Mary into the twilight world of body modification and underground surgeries where obsessed flesh artists will pay anything and go through any pain to get their unusual procedures done. But Mary soon finds that her new ‘profession’ leaves more marks on her own psyche than on her freakish clientele. Keep your bloodshot eyes peeled here boils ‘n ghouls for more information as it comes along.

For more on the film, visit the official Twisted Twins Productions website, like American Mary on Facebook and, on Twitter, follow American Mary (@_American_Mary) and the Twisted Twins, Jen and Sylvia Soska (@twisted_twins).


I realize it’s a bit late as the Backwoods Horror offices have been in the middle of a move during the Holiday Season, but Sam from 2009’s (well, 2006 before Warner shelved it) film of the year TRICK ‘R TREAT is back again with Holiday greetings with the help of a little girl with a shared interest. Enjoy the video below, and HAPPY HOLIDAYS from BACKWOODS HORROR.


Source: JoBlo

We’re saddened to hear reports emerging of FRIDAY THE 13TH PART V: A NEW BEGINNING director Danny Steinmann’s passing. Aside from his entry in the iconic slasher series, Steinmann can also be credited as the man behind THE UNSEEN (directing as Peter Foleg) and the Linda Blair exploitation classic SAVAGE STREETS.

Steinmann was a director who will be remembered for embracing exploitation elements like no other. Before becoming a legitimate horror filmmaker, the director cut his teeth in the world of low-budget pornorgraphy. If you’ve ever watched any of the man’s films, it’s easy to tell. Steinmann knew sex sold and packed it into his films regardless of gratuitousness. He would match his gloriously staged sex scenes only with the raw brutality of his onscreen violence. While his FRIDAY THE 13TH PART V is often derided for not having Jason as it’s real killer, the film more than makes up for it through Steinmann’s over-the-top, pulpy sensibilities. A NEW BEGINNING has more of the series trademarks– brutal kills, copious gore, and graphic sex– than any other entry. Giving credit where it’s due, it may be the ultimate FRIDAY THE 13th film for these reasons alone.

Unfortunately, it would also be Steinmann’s last directorial effort. After becoming injured in a bicycling accident, the filmmaker retired into relative obscurity. Thankfully, he re-emerged in the last decade to participate in the special features and documentaries for the DVD releases of SAVAGE STREETS, CRYSTAL LAKE MEMORIES and A NEW BEGINNING. He also made a major resurgence on the horror convention scene, as evidenced by the pic with Shavar Ross (Reggie The Reckless!) above. If nothing else, we can take comfort in the fact Steinmann got to see his films become cult classics before his untimely passing.

We salute Danny Steinmann for his contributions to FRIDAY THE 13TH and the horror genre at large. May he rest in peace…


Theatrical Release Date: July 27, 2012 (Limited)
Distribution Company: Lionsgate
Directed by: William Friedkin
Written By: Tracy Letts
Starring: Matthew McConaughey, Emile Hirsch, Juno Temple, Gina Gershon, & Thomas Haden Church
Running Time: 102 minutes
Rating: NC-17


When 22-year-old Chris (Emile Hirsch) finds himself in debt to a drug lord, he hires a hit man to dispatch his mother, whose $50,000 life insurance policy benefits his sister Dottie (Juno Temple). Chris finds Joe Cooper (Matthew McConaughey), a creepy, crazy Dallas cop who moonlights as a contract killer. When Chris can’t pay Joe upfront, Joe sets his sight on Dottie as collateral for the job. The contract killer and his hostage develop an unusual bond. Like from a modern-day, twisted fairy tale, “Killer Joe” Cooper becomes the prince to Dottie’s Cinderella.

Any regular reader of Backwoods Horror knows that, while horror is our usual thing, we absolutely dig on films that fall under the genre we like to call “Dirty South,” a version of the Southern Gothic genre. If there’s ever been a film more befitting of being called a “Dirty South” movie, it’s KILLER JOE. I know it’s not overtly professional to say as such, but I LOVE this film.

KILLER JOE has to be one of the darkest, grittiest “dirty south” films I’ve ever seen, and I’ve seen more than my fair share (POOR PRETTY EDDIE comes to mind). It’s rare when a film comes along where the perfect combination of direction and acting converge to make a (well almost) perfect film. Friedkin did a fantastic job, between the use of film stock, filters (giving the feeling of a gritty, almost 70’s grindhouse film), excellent shot composition, and locations (though set in Texas, Friedkin masterfully found perfectly decrepit locations throughout Louisiana), I actually became immersed in the film (not something that usually happens to this somewhat jaded reviewer). Perhaps it has something to do with me coming from an incredibly rural part of the South, parts of this film looked as though they could’ve been taken right out of life as it is today in some places down there – harsh…cruel…dirty.

The acting was phenomenal in this film. Thankfully, part of the cast actually is from Texas, and the accents, usually overblown and unbelievable in most films set in the South, were believable, a fantastic choice on the part of  Friedkin because that will always, ALWAYS pull the viewer out of a film, take it from a born and bred Southerner. I was even considerably surprised to learn Juno Temple was an English actress as she absolutely nailed the accent. Every actor in this film played their parts to perfection, performing the actor’s task of drawing in the viewer and questioning just where things are going to go. Matthew McConaughey, of course, is the obvious standout as Killer Joe Cooper. Playing against his usual type as the romantic lead, he played the character with a cold, calculated viciousness I haven’t seen onscreen in a very long time. He expressed so much in the character with just a stare, stated by Juno Temple’s character Dottie with “your eyes hurt.” I don’t know which was more chilling, when Joe was his cold, calculating self, or when he let the animal out (something I haven’t seen expressed from McConaughey since TEXAS CHAINSAW MASSACRE: THE NEXT GENERATION). And though it was barely audible, Friedkin did this wonderful audio cue whenever Joe entered the scene in the beginning with the sound of cicadas and the flicking of his Zippo, both of which, while in themselves normally innate, became ominous sounds of dread.

While usually not a fan of anything Emile Hirsch is in (not even the critically acclaimed INTO THE WILD), I believe he’s growing as an actor as his performance of the ever distressed Chris Smith was believable and even, to a point, sympathetic. Indebted to a southern mob boss the character, after initially being tricked, continues to make one mistake after another and, via Emile Hirsch’s brilliant portrayal, we see a young man falling deeper and deeper into dispair and desperation bringing the viewer to sympathize and pity his plight as he continues to look for a way out, eventually taking on the characteristics of a caged beast.

Aside from McConaughey, Juno Temple has been receiving a lot of attention as the almost mystical Dottie Smith. Though seeming like a young, naive white trash young woman, her character (as the viewer comes to realize) sees more than any other character in the film. Almost childlike, her character, initially, is put up as collateral as Chris has nothing to pay Joe upfront for the assassination of Chris’s mother for her life insurance. Joe, at first, considers her nothing but a retainer, a plaything of sorts, but over time the two fall in love, making things somewhat…complicated once again for Chris. Meanwhile Dottie remains quiet, willing to go along with things, but, unlike the other characters, seeing the truth of things from the very beginning, and sick of being used as a pawn, leading to an end that must be seen to be believed (no spoilers here boils ‘n ghouls).

The supporting cast, as well, are exemplary. Thomas Haden Church plays the ever unaware Ansel Smith, constantly clad in dirty work clothes and trucker hat, he brings a sense of dark humor to an otherwise incredibly disturbing film. And he plays his part to perfection. While by no means innocent, Ansel portrays the sense of the white trash everyman, a man who just wants to live and let live and gets caught up in things beyond his control.

And rounding up the cast is Gina Gershon as Sharla Smith, Ansel’s second wife and, as with McConaughey, plays against type as white trash and mean as they come. Using Ansel as little more than a plaything, she orders him around like a dog and Ansel, true to character, goes right along with it without so much as a fuss. She plays her character perfectly as the scheming, trailer trash stepmom. I grew up around these people, people who truly hate the situation they’re in and are willing to do anything, anything to get out of it. I’m not going to go into too much detail on that as I promised before, no spoilers. There’s something else about Gershon as an actress in this film…the woman is brave. The things she has to endure as an actress of her calibre are truly horrifying the the viewer is left with a conundrum as to whether or not she deserves it; her cruelty, in the end, ultimately turned against her. But like Ansel says at one point towards the end, “you made your bed.”

KILLER JOE is one of the best films I’ve seen in a very, very long time. Every line, nearly every shot, hell, just about every aspect of the film all fit together perfectly, making it an almost perfect film. That’s a rare thing in this day in age when very little care seems to be put into filmmaking anymore. While I, personally, would suggest this film to everyone I know (excepting, perhaps, my mother), this is a hard film to watch. Throughout the entire film, things continue to get worse for the characters and the violence (necessary in all cases and not in the least bit exploitative) escalates to a final 20 minutes or so that just has to be seen to be believed. This film truly surprised me. Not by the violence or incredibly harsh nature of the film (earning it an NC-17), but just how perfectly it was put together. Nothing is wasted, every actor plays their character naturally. It’s as if you’re truly gaining a glimpse into the dark underbelly of the “dirty south” I’ve spoken about on a few occasions. Friedkin and Letts opened a portal into the brutal nature of man with complete sincerity, making KILLER JOE an incredibly important film not to be missed.

4 Out Of 5 Skulls

Technical Aspects:

The KILLER JOE Unrated Director’s Cut Blu-Ray is a work of art. The 1080p transfer and 5.1 DTS-HD Master Audio is perfect, with even the smallest detail seen and heard as it ought to be, in crystal clear clarity.

The special features include: “Southern Fried Hospitality: From Stage to Screen” offered an incredible insight into how a stage play set in essentially one room was taken into Friedkin’s hands and made into a Southern Gothic world.

Other special features are an audio commentary from director William Friedkin that is nothing less than interesting and engaging.

Additionally, there is also a SXSW Q&A with the cast and SXSW Intro by Friedkin.

And rounding out the special features is the special “White Trash” Red Band Trailer.



Ok boils ‘n ghouls, it looks as though the internet is back up and running in the new Backwoods Horror offices and we’re nearly done packing. Time to get caught up on all the horror news, reviews, and everything in between that’s fit to print. We got a blu-ray & DVD of the Unrated Director’s Cut of KILLER JOE in the mail the other day, so expect a review for that film coming soon, along with a review for THE TURNPIKE KILLER, SLAUGHTER TALES, and PROJECT OCTOBER (all three made by local NY/Brooklyn filmmakers, THE TURNPIKE KILLER being produced by New York Horror Film Productions, and written and directed by Evan Makrogiannis – who has a son of oh about 13 or so who also has a werewolf film on the discc I’ll also review…it’s fantastic to see budding indie horror filmmakers). SLAUGHTER TALES, by the way, was made by a (I believe)  15 year old young filmmaker named Johnny Dickie, who also does all the special effects makeup, so it’ll be a joy to see his work.

There is a lot of talent coming out of this area in the indie horror arena. I recently attended a small screening of a few indie horror shorts and a revival of SLUGS (and carried away a signed poster), called the NEW YORK CITY HORROR AND EXPLOITATION FILM FESTIVAL in Astoria. I believe it was the first of many to come and I look forward to being invited back again.

Anyway, that’s all for now. This time of year is SLOW for horror news so it doesn’t look like I missed much, but you can bet your bloody arse I’ll get it up on the site.

Keep it Creepy,

Aaron J. Howell


Posted on 22nd December 2012 by aaron in News,Personal - Tags: , , , , ,

The new Backwoods Horror office has been without internet for the past 24 hours. The entire area is actually. This is terribly annoying as we JUST had lines put in yesterday evening & we were going to be up and running with new posts amd reviews soon. Time Warner its telling us it’ll be tomorrow before things are back to normal (I’m writing this from my phone). So, hopefully, expect us to be back in bloody business by Sunday or Monday.

Thank you for your patience and consideration.

Your friend in horror,

Aaron J. Howell
Cheif Editor & Owner
Backwoods Horror


Where have we been the past few days? You may have noticed a lack of updates. Well, the BACKWOODS HORROR office is moving from Manhattan to the Brooklyn area so we’re taking a short break while we get everything moved and the internet back up and running. This will be the last post more than likely from our current office, but rest assured boils ‘n ghouls, BACKWOODS HORROR isn’t gone, just moving its physical space. So we’ll be seeing your bloodshot eyes again soon. Thank you so very much for your patience.


-Aaron J. Howell-


The season finalé of DEXTER is almost upon us and your guess is as good as ours as to what’s going to happen, but be assured, as with past seasons, it’s going to leave us wanting more when it comes to our favorite serial killer of serial killers.

DEXTER: Season 7, Episode 12: Surprise, Motherfucker!

Airdate: 12/16/12 


LaGuerta (Lauren Velez) is on the verge of exposing Dexter (Michael C. Hall) and his killer ways, while he does his best to cover for himself and Debra (Jennifer Carpenter) and maintain the life he’s created.




For more be sure to visit the official “Dexter” page on Showtime, “like” “Dexter” on Facebook, and follow “Dexter” on Twitter.


Nineteen new images for Twisted twins Jen and Sylvia Soska‘s (DEAD HOOKER IN A TRUNK) latest film AMERICAN MARY, starring Katharine Isabelle (GINGER SNAPS) has hit the web, giving us a better glimpse into the incredibly imaginative new film. If you recall, Universal Pictures picked up International Rights to the film and recently XLrator picked up US distribution. Hit the break below for a little more for your AMERICAN MARY fix!


Starring Katharine Isabelle, this metaphor for the Soskas own journey through the independent film industry follows medical student Mary Mason as she becomes increasingly broke and disenchanted. The allure of easy money sends Mary into the twilight world of body modification and underground surgeries where obsessed flesh artists will pay anything and go through any pain to get their unusual procedures done. But Mary soon finds that her new ‘profession’ leaves more marks on her own psyche than on her freakish clientele.