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Arrow In The Head recently got their claws on the trailer for William Brent Bell’s (THE DEVIL INSIDE) upcoming werewolf film WER, and now, boils ‘n ghouls, we’ve got it up here on Backwoods Horror. While I wasn’t really the biggest fan of The Devil Inside, my favorite movie monster (as you all probably know by now) is the werewolf, so any news on a new werewolf film and I can’t help but be drawn to it…even if the trailer screams “stay away” with its overabundance of CGI and the werewolf itself looking more like a hairy hobo than the bi-pedal wolf from hell I hold near and dear to my heart.


Following the brutal slaying of an American family vacationing in rural France, a peculiar man living near the crime scene is blindly charged with their murders. Believing her client is innocent, expatriate American defense attorney Kate Moore and her team decide to take a scientific approach in order to prove his physical incapability to local authorities.  As she delves into his enigmatic family history, she uncovers evidence that suggests the rebirth of an unexpected legend.  When a bloodbath ensues, Kate must do whatever she can to survive the surrounding terror and prevent the chaos from spreading. A.J. Cook, Simon Quarterman and Brian J. O’Connor star.



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From The Press Release:

[SKINWALKER RANCH] is inspired by true-events and reports around “Skinwalker Ranch” (  in NE Utah, which started gaining media attention a few years ago (including Jesse Ventura’s ‘Conspiracy Theory’ and most recently ‘Joe Rogan Questions Everything’ on SyFy) after years’ worth of reports of a wide range of unexplained phenomena.  The film touches on these reports ranging from mysterious orbs and alleged UFO sightings to giant wolf-like creatures and livestock mutilation.

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It is a found footage movie that starts with the disappearance of ranch owner Hoyt Miller’s eight year old son, Cody on November 11, 2010.  Modern Defense Enterprises (MDE) sent a team of experts to document and investigate the mysterious occurrences, which only escalate upon their arrival… The incidents become more violent, causing tensions to rise as the team must decide how far they will go to unlock the mysteries of “Skinwalker Ranch.”  The group debates whether the answers are worth risking their lives for, or if they should just call off the investigation and leave the ranch – that is, if leaving is actually an option…




As we’ve stated time and again, we here at Backwoods Horror are HUGE fans of  Squatchsploitation flicks. From seeing 1980?s NIGHT OF THE DEMON and LEGEND OF BOGGY CREEK as a child, onto newer fare such as THE LOST COAST TAPES and the much anticipated EXISTS, we just can’t get enough of the big guy.

Now Bobcat Goldthwait (who happens to be a contemporary of bigfoot expert Scott Herriott) has written and directed a new found footage bigfoot horror film called WILLOW CREEK (which I’m assuming is a horror film by the trailer and the amazing poster), and now a new trailer has surfaced. Check it out after the break!



As we’ve stated time and again, we here at Backwoods Horror are HUGE fans of  Squatchsploitation flicks. From seeing 1980’s NIGHT OF THE DEMON and LEGEND OF BOGGY CREEK as a child, onto newer fare such as THE LOST COAST TAPES and the much anticipated EXISTS, we just can’t get enough of the big guy.

Bobcat Goldthwait (who happens to be a contemporary of bigfoot expert Scott Herriott) has written and directed a new found footage bigfoot horror film (I’m assuming it’s within the horror genre by the amazing poster below), and a new poster and interview with Goldthwait have surfaced. Just LOOK at that poster. It’s a shame that movie posters aren’t such an art form any more as they once were. I’d be proud to have this one hanging on my office wall. But enough with the gab, on with the interview with the man himself and a full look at the poster!


Magnolia released V/H/S on DVD and Blu-ray this week (along with iTunes and VOD etc…). But there’s another, older – and titular – format on which the film can be seen. Actual VHS tape! Check out my review of the film HERE.

The logistics of such an exercise were far from easy, and by all accounts Momentum Pictures had to undertake considerable research to get big-box-sized tapes made up which include many nods to the glory days of rental stores. Getting hold of these tapes won’t be easy though. Only 300 numbered copies have been manufactured and Momentum are promising a unique V/H/S event in January at which lucky fans will be able to get hold of them. Further details will emerge on the Total Film VHS Hub.

V/H/S comes from filmmakers Adam Wingard (You’re Next, A Horrible Way to Die, Pop Skull), Simon Barrett (You’re Next, Dead Birds, Red Sands), Ti West (The House of the Devil, The Roost, The Innkeepers), David Bruckner (The Signal), Joe Swanberg (Silver Bullets), Glenn McQuaid (I Sell the Dead), and Radio Silence.



As regular Backwoods Horror readers know, I’m a huge, HUGE fan of bigfoot flicks, or as I call ‘em squatchploitation movies. I’m talking about films such as THE LEGEND OF BOGGY CREEK,CREATURE FROM BLACK LAKE, and 1980?s NIGHT OF THE DEMON, and Eduardo Sanchez’s upcoming EXISTS, amongst others. So I was excited to hear that the found footage bigfoot film THE LOST COAST TAPES had found North American rights distribution through XLrator Media with plans for a fall release. Now THE LOST COST TAPES has picked up a title change, now being called BIGFOOT: THE LOST COAST TAPES which makes a bit more sense from a marketing standpoint. As a part of the marketing campaign, the filmmakers have released a new poster (much like the last) with the new title. Check it and the trailer after the break below.

THE LOST COAST TAPES is directed by Corey Grant, and stars Drew Rausch, Rich McDonald, Ashley Wood, Noah Weisberg and Frank Ashmore. It was written by Brian Kelsey and Bryan O’Cain and produced by Corey Grant’s New Breed Entertainment, Chevez Frazier and Chris Beal.

Sean Reynolds, an eager Television Host, is on a mission to debunk famed Bigfoot hunter Carl Drybeck, who claims to possess the body of a dead Sasquatch. When the team arrives in Northern California they are immediately thrilled — Drybeck’s zealous belief in his hoax is going to make for a wildly entertaining episode of campy-paranormal television. However, when Drybeck’s hunting partner is myste
riously attacked, the team is left alone and reality begins to set in. The evidence is stacking up, Drybeck’s theory may not be a hoax, and the existence of Bigfoot might just be the least of their worries.Shot on location in the region of the world’s largest concentration of Bigfoot sightings and based on the real accounts of locals, BIGFOOT: THE LOST COAST TAPES reveals a new truth about America’s oldest living legend.
For more information, be sure to check back here and follow them on their Official Facebook Page.


Another cool poster for V/H/S has hit the net, this time it’s the perfect vision for those of you with any analog fetishes.  V/H/S is now available on various On Demand platforms (a month before its October 5 theatrical release!)! While iTunes(AppleTV) has it, it’s also hitting Amazon, Charter, Comcast, Google Play, DirecTV, Playstation 3, SuddenLink, Time Warner,VUDU and Xbox Zune via Magnet Releasing. You can find out exactly where to rent it by clicking here.

For my full review of V/H/S CLICK HERE!


When a group of petty criminals is hired by a mysterious party to retrieve a rare piece of found footage from a rundown house in the middle of nowhere, they soon realize that the job isn’t going to be as easy as they thought. In the living room, a lifeless body holds court before a hub of old television sets, surrounded by stacks upon stacks of VHS tapes. As they search for the right one, they aretreated to a seemingly endless number of horrifying videos, each stranger than the last.



This poster is better than the segment itself. I have no clue who painted it, but as soon as I saw it hit the ‘net, I had to post it! V/H/S is now available on various On Demand platforms (a month before its October 5 theatrical release!)! While iTunes(AppleTV) has it, it’s also hitting Amazon, Charter, Comcast, Google Play, DirecTV, Playstation 3, SuddenLink, Time Warner,VUDU and Xbox Zune via Magnet Releasing. You can find out exactly where to rent it by clicking here.

For my full review of V/H/S CLICK HERE!


When a group of petty criminals is hired by a mysterious party to retrieve a rare piece of found footage from a rundown house in the middle of nowhere, they soon realize that the job isn’t going to be as easy as they thought. In the living room, a lifeless body holds court before a hub of old television sets, surrounded by stacks upon stacks of VHS tapes. As they search for the right one, they aretreated to a seemingly endless number of horrifying videos, each stranger than the last.



Tribeca has released a new trailer and press release regarding another found footage horror film, this one from the UK titled HOLLOW.


Tribeca Film will release HOLLOW, a British found footage horror film, on September 19th. Directed by Michael Axelgaard and written and produced by Matthew Holt. HOLLOW is a chilling tale of four friends on holiday who discover a frightening local legend and find themselves in battle with an ancient evil. The film follows on the heritage of classic British ghost stories and folklore but takes these traditions to a frightening new place utilizing the found footage style. HOLLOW terrified audiences when it premiered at Fantasia Festival in 2011. The film also screened at the Raindance Film Festival in 2011 and was nominated for British Independent Film Award.

HOLLOW will be released On Demand, where it will be available in 40+ million homes through a variety of video-on-demand offerings, as well as iTunes, Amazon Watch Instantly, VUDU, Xbox, and Samsung Media Hub.


An old monastery in a small, remote village in Suffolk, England, has been haunted by a local legend for centuries. Left in ruin and shrouded by the mystery of a dark spirit that wills young couples to suicide, the place has been avoided for years, marked only by a twisted, ancient tree with an ominous hollow said to be the home of great evil. When four friends on holiday explore the local folklore, they realize that belief in a myth can quickly materialize into reality, bringing horror to life for the town.

REVIEW: V/H/S (2012)

Release Date: August 31, 2012 (VOD), October 5, 2012 (Home Video)
Distributor: Magnolia Pictures
Directors:  Adam Wingard, Ti West, David Bruckner, Glenn McQuaid, Joe Swanberg, Radio Silence
Screenwriters:  Simon Barrett, Ti West, Glenn McQuaid, David Bruckner, Radio Silence, Joe Swanberg
Starring:  Joe Swanberg, Calvin Reeder, Adam Wingard, Sophia Takal, Kate Lyn Sheil, Matt Bettinelli-Olpin, Chad Villella, Tyler Gillett
Genre:  Horror
MPAA Rating: R

V/H/S has been described as a horror film that will, as a fan on Reddit put it, “restore your faith in horror films,” and the hype machine has been out of control leading up to its VOD release. As happens far too often, when a film is hyped as the most horrifying film you’ll ever see; marketed and hyped to a point where the word saturated becomes appropriate (people who haven’t even seen the film are pushing it as the “next big thing in horror.”), things don’t often turn out as promised. Sadly, such is the case with V/H/S.

Don’t get me wrong, it’s a good film, an ok horror film with scares here and there that really pay off, but a film that will change the horror world forever? No…not in the least. V/H/S is an anthology film, so let’s start with the wraparound story.

[TAPE 56] (Directed by Adam Wingard) is about a group of four voyeuristic petty criminal assholes who get their kicks taping crimes such as assaulting a woman to get a cheap breast shot and vandalizing a house sell their videos anonymously online. A fan (which they only find slightly strange, given that they exhibit/sell their work anonymously) offers a large sum of money to break into a house in the middle of nowhere to retrieve a specific video.

Unquestioningly, the group decides to go for it but find out things aren’t going to be the cakewalk they were led to believe. Upon arriving at the home, the place is a mess, with VHS tapes everywhere. The information they were given was that the only occupant of the house is an old man that’d sleep through the entire break-in if they kept things quiet, but when they get there they find the old man sitting dead in front of a glowing stack of old televisions and VCRs along with a pile of unmarked tapes. One of the group of thugs is left behind to go through all of them while the others explore the house, two specifically exploring the basement thinking the tape they’re looking for might be in storage while the other searches the house. The one left behind with the dead man pushes play on the VCR, beginning the anthology of horror to come.

[Tape 1: AMATEUR NIGHT] (Directed by David Bruckner) begins with three guys, two jock-ish types and a smaller guy they’ve talked into wearing a pair of hipster glasses with a camera inside. The plan for the evening is to go out, get trashed frat boy style, bring a few ladies back to a hotel room and make their own little porn flick. Unfortunately for them, they pick the wrong two women. One, so incredibly drunk, passes out immediately, so all three (despite some reservations from the little guy with the camera glasses) move in on the second woman and a night they thought they’d remember forever turns into a nightmare of blood and carnage as things are not quite what they seem.

As AMATEUR NIGHT ends, we cut back to TAPE 56 with a two of the guys down in the basement looking through boxes and boxes of tapes trying to find one in particular. Unable to do so, it’s decided to just take all of them when, in the shadows, a naked man runs across the frame. The guy behind the camera tries to tell the other one what he just saw but the other one doesn’t believe him, saying “let’s just get this shit and go.” Meanwhile, upstairs, freaked out, the third guy puts in the second tape.

[Tape 2: SECOND HONEYMOON] (Directed by Ti West) follows a couple as they travel across the South West on their (presumably from the title) second honeymoon. It looks about like what you’d expect as they take in the sights, checking out the Grand Canyon, having a stranger get them together in the frame for posterity. Then their first night in a hotel, they receive a strange request from a mysterious female stranger for a ride. They find it weird but decide not to call the police. But then the next night the mysterious stranger is back and the camera is on them as she’s in their hotel room as they lay sleeping.

[Tape 3: TUESDAY THE 17th] (Directed by Gleen McQuaid) starts off with 4 friends in a car, your typical slasher film fare: the brunette intelligent girl, the ditzy blonde girl, the nerdy guy in love with the ditzy blonde, and the handsome one. The brunette, Wendy, is taking them all for a day trip out to the middle of nowhere, neglecting to mention a series of murders had taken place in that exact location years before. Unfortunately for them, the murderer is still on the loose, and still looking for victims.

We cut back to TAPE 56 with two of the thieves in the room with the dead man in the chair, wondering what could possibly be taking the other two so long. One goes to look for them in the basement while the other stays behind to put in another tape.

[Tape 4: THE SICK THING THAT HAPPENED TO EMILY WHEN SHE WAS YOUNGER] (Directed by Joe Swanberg) takes place between a guy, James, and his girlfriend Emily via video chat on their laptops. Emily has just moved into a new apartment, and things seem fine at first. Then strange things begin to happen in Emily’s apartment. Doors slam, strange sounds keep coming from a particular room, and her boyfriend James is helpless to watch over video chat as the horror only intensifies.

Back to TAPE 56, the leader of the group of thieves (I’ve taken to calling him “Moustache Guy” for fairly obvious reasons) comes into the room with all of the TV’s and VCR’s to find the other thief who had been watching the tapes gone…along with the dead man in the chair. Sensing something has gone horribly wrong he rushes from the room. Finding one of his friends decapitated in the hallway, he runs screaming through the house, trying to find his other friends. It will be the last we see of TAPE 56 which isn’t such a bad thing really because as a wraparound story to tie the others together, it itself wasn’t very frightening and seemed there only to serve the singular purpose of moving the other stories forward.

[Tape 5: 10/31/98] (Directed by Matt Bettinelli-Olpin, Chad Villella, Tyler Gillet, & Justin Martinez – All under the banner of RADIO SILENCE) finds a group of friends getting ready for a Halloween bash, but get lost on their way to the party. Unsure if it’s the right house or not, they go in anyway, but no one else is there. Thinking it a Halloween prank, they begin to search around the house. As strange things begin to unfold, they find too late that they’ve come to the wrong house at the wrong time. Very strange, very horrible things are happening in that house that all lead to a climax that push the friends to the very brink of madness and terror as they realize too late what a horrible mistake they’ve made.


As I said at the beginning of this review, V/H/S has been saturated with undeserved hype, much to its discredit. I don’t say this because I hated the film, much to the contrary, I actually enjoyed parts of it and there were a select few bits within the anthology that were genuinely frightening. V/H/S was an ambitious project to say the least, bringing together some of the top talent in the independent horror filmmaking world to take the tired found footage genre and create something new out of it. They succeeded admirably in creating a mix tape of various genre tropes this reviewer had never seen by combining the anthology and found footage horror genres, sometimes successfully, and not quite so successfully at others.

The two best out of the bunch had to be AMATEUR NIGHT and 10/31/98 in terms of creativity and style. The creature effects in AMATEUR NIGHT and certain camera angles brought a level of fear and tension many of the others in the anthology lacked. 10/31/98 was perhaps my favorite of the bunch, not only because of the twist on the viewer’s expectations, but because of the final scene as the friends race from the house, even if some of those effects were lifted directly from Roman Polanski’s REPULSION, that was still an amazing, heart pounding escape from that house of horrors.

That being said, however, there were some major issues with this film. First and foremost, the characters: nearly none of them were likeable. Each character, with the exception of, let’s call him “Camera Glasses,” in AMATEUR NIGHT and a few of the friends in 10/31/98 were either annoying, stupid (Emily, I’m looking at you) or outright assholes. This is a problem found more and more in horror films these days. The audience (unless they’re assholes themselves) cannot relate to the characters and therefore no one cares what happens to them. I realize it is difficult to establish character traits within a limited time frame, but it can be done. And in this case, I was left simply not caring about most of the characters in this film, or what happened to them.

And then there are the varying stories themselves. Some were done incredibly well. AMATEUR NIGHT, regardless of three quarters of the cast being incredibly annoying frat boy types, actually instilled a good deal of horror when the defecation hit the oscillation. I could almost feel the terror the characters felt when things went so terribly wrong. I was incredibly let down by SECOND HONEYMOON. I suppose I’ve come to expect more from Ti West, but it seemed almost like he phoned it in on this one. There were one or two genuine moments where the creep factor was turned up to eleven, but overall, it didn’t feel so much like a horror short as it did a slightly more violent Lifetime Channel original.

TUESDAY THE 17th was incredibly amateurish, which may have been the point in a way but it just went overboard. I expect more from the man who directed I SELL THE DEAD, a film I absolutely adore. The “horrific camera malfunction” bits were interesting, but the acting was outright horrid and unbelievable which caused it to fail overall when it came to frightening the audience. I WILL give it credit, however, for making it look as though it could’ve really been shot by just some group of kids out in the woods which brought, if nothing else did, a certain realism to it. THE SICK THING THAT HAPPENED TO EMILY WHEN SHE WAS YOUNGER may have been the worst of the bunch. While I applaud the use of modern video chat communication’s integration into the film, the acting was far too flat for me to get overly invested in the characters, even when the strange events began to occur to Emily in her new apartment. The twist at the end was nice, even if I did suspect something similar to it coming, it at least showed that though the acting was awful, the writer and director were trying to do something innovative with recorded video chat (something so prevalent in our lives these days) and an added twist that tied things together neatly.

I was lucky enough to attend a press screening for this film some weeks ago and it’s taken me this long to write the review simply because, while I was disappointed a great deal thanks to the hype machine that made this film out to be the next great hope for horror cinema, the project itself was inspiring and various parts of the film were quite good, while a great deal of the film wasn’t. I applaud all the writers and filmmakers for attempting something new, something more independent horror filmmakers should take note of, and though I didn’t find V/H/S to be “the next big thing in horror” cinema or the best horror film of the year, I should hope its example to risk something new will be taken to heart by independent horror writers, directors, and producers to push the boundaries of what horror films can be.

Two And A Half Out Of Five Skulls