The Boogeyman Should Blow His Nose

Nine year-old Laura and her 11 year-old brother Henry witnessed the serial killer known as the  Boogeyman use their parents’ necks for a place to put his knife while adjusting his killer (ahem) black hood. Personally, I would’ve put the knife in the dishwasher.

Ten years in and out of a mental institution dealing with their life-crippling fear of the dark and all things Boogeymen, Henry and Laura are still being counseled by a “face your fears, you pussies” medical director. Joining them are  five other pre-adults dealing with their mental clogged toilet: bugs under the skin, fear of being in public, fear of getting fat, fear of germs… (What — no fear of non-alcoholic beer?)

Laura is a screaming hottie, with emphasis on screaming, now that the therapy has failed and the Boogeyman is back to finish what he started a decade ago. Everyone is being dispatched by the thing they fear the most. One kid gets chopped in half by an elevator. (I take the stairs, so that entertained me.) One girl with a fear of bugs gets maggots poured into open wounds. (I don’t have open wounds, so again, highly entertaining.) Additional deaths are just as creative and enjoyable.

While the first half of Boogeyman 2 (2007) is boring horror crap (the premise is the same as A Nightmare on Elm Street 3: Dream Warriors (1987), the second half delivers some excellent gore and a “sex-while-standing-up” scene. (Not as comfortable as it looks.)

The Boogeyman himself isn’t a supernatural entity, though they try to make you believe otherwise. If you can’t guess who/what/he/she is by the half-hour mark, you need to have maggots poured into your open wounds. Even as clichéd as it is, this sequel is slightly better than the first Boogeyman (2005), whose main evil character just wasn’t that attractive.

Cloverfield in Space, The Search for Bigfoot, Mutant Fish ‘n Chips

The big horror/sci-fi news came on the cleated heels of Superbowl LII — The Cloverfield Paradox (2018), a highly anticipated installment in the Cloverfield franchise — showed up on Netflix™ the second the world’s most overpaid football game ended. This caused my blood pressure to go off the charts as the movie was first titled God Particle. Then it had a movie theater release date, but scrapped that a the last minute and put it up on Netflix™. I did what anyone would do in this situation — drink a refreshing adult beverage to regain self control, and then watched it.

Here’s the premise…

“An American space station that, after an accident with a particle accelerator, suddenly finds that Earth has vanished altogether. Things get stranger when they then pick up traces of another space station nearby.”

Rather bland considering it was meant to tie up loose ends left loose by Cloverfield (2008) and 10 Cloverfield Lane (2016). But critics were not impressed and had this to say about the admittedly confusing movie: “A trainwreck of a sci-fi flick bent on extending a franchise that should have died a peaceful death almost exactly one decade ago…” — Hollywood Reporter; “While there are a handful of nifty sequences and good performances overall, this feels like a blown-out pilot for one of those SyFy™ series you always mean to get around to but never do…” — Thrillist; and more succinctly, “The Cloverfield Paradox is an unholy mess…” — The Guardian. Ouch.

Whether or not you watch it and decide to go all mob mentality on The Cloverfield Paradox, here are a few more just released and upcoming horror and sci-fi documentaries/movies that may or may not turn out to be an unholy mess…

EXPEDITION SASQUATCH (available now)
“A new documentary about the Sasquatch of Nordegg, Alberta. This area has become increasingly popular among Bigfoot researchers and enthusiasts due to the baffling tree structures that can be found in the area.”

Checked on Expedia.com and I can fly from Seattle, to Nordegg, Alberta — round-trip — for $296 smackos. Once in Nordegg (that name sounds so mad up), I’ll be able to Air BnB it with my ‘ol pal, Bigfoot. It’d be cool if he had some Unibroue La Fin Du Monde on ice waitin’ for me. That stuff is 9% alcohol and a few bottles of that will have you seeing mythical monsters all over the place.

ASYLUM OF FEAR (available now)
“When a team of paranormal investigators is hired to inspect a soon-to-be demolished mental institution, they discover horrifying clues that reveal the cause of a violent massacre by an insane doctor in the 1960s.”

Don’t they know mental institutions are supposed to be abandoned and subsequently haunted and not knocked down to make room for YET ANOTHER Starbucks™? Still, the generic Asylum of Fear makes sense that the place was f’d up by an insane doctor. At least he was in the right place. You don’t bring a knife to a gunfight.

THE BARGE PEOPLE (2018)
“Set on the canals amid the glorious British countryside, two sisters and their boyfriends head off for a relaxing weekend away on a barge, unaware of the flesh-eating fish mutants lurking in the water, ready and waiting to feed.”

Flesh-eating fish mutants lining up to dine on barge food? Do fries go with that? Regardless, I’d like to reserve a table, close to the docks, if possible.

NOVEMBER (2018)
“The story is set in a pagan Estonian village where werewolves, the plague, and spirits roam. The villagers’ main problem is how to survive the cold, dark winter. And, to that aim, nothing is taboo. People steal from each other, from their German manor lords, and from spirits, the devil, and Christ. To guard their souls, they’ll give them away to thieving creatures made of wood and metal called Kratts, who help their masters by stealing more.”

The trailer for this is very art house-y. But gotta say, the wood and metal Kratt creatures are pretty cool and candidates for McDonald’s Happy Meal™ toys. (Last Happy Meal™ I got had a toy napkin in the box. Sure, those things are fun to play with, but I wanted a Cloverfield action figure, dang it.

Cash For Monsters, Paranormal TV, Legal Killers

Here’s a slick piece of marketing — Capcom™, maker of video games — has created a promotion around Monster Hunter: World, which has already sold over 5 million copies. Teaming with The Centre of Fortean Zoology founder Jonathan Downes, Capcom™ is offering £50,000 ($70,000 USD) “to anyone who can provide conclusive evidence of one of 10 real-life monsters”.

Fellas, get out your checkbook — of the 10 monsters, I have proof of 11. (I put Bigfoot on there twice, because he’s twice as cool as any other cryptid.) If you wanna get in on this paranormal payday action, here’s the list of Capcom’s™ Most Wanted…

• Bigfoot

• The Loch Ness Monster

• Mongolian Death Worm

• Mermaid

• Earth Hound

• The Yeti/Almasty

• Chupacabra

• The Flying Snake of Namibia

• Yowie

• Cornish Owlman

In their press release, Capcom™ says before they cough up the coin, you must provide proof of one of these monsters by June 20, 2018 in order to clock some dollaz. (After receiving the evidence, Downes and his team will analyze it, and any hunter who provides definite proof will be awarded the prize, with multiple winners splitting the pot.)

Just so you know, I’m not splitting my winnings with anyone. My bar tab ain’t gonna pay for itself. (Hint: In bars is where I found most of the monsters. But look in Taco Bell™ restroom toilets for Mongolian Death Worms.)

While you get an expedition together, here are a few upcoming horror and sci-fi movies that may or may not be worth hunting down…

RED EYE (February 9, 2018)
“Gage Barker, a young man who grew up on the tales of Red Eye as a kid, learns that there could be some truth behind these folk tales. This myth covers a violent, deranged masked murderer, who dwells in the backwoods of Black Creek, West Virginia. With a group of his friends and his camera equipment in tow, they hike into the woods to seek him out or to prove that he is nothing more than a myth.”

Violent deranged masked murderer. Four words that go together as seamlessly as “super fun happy slide.” As for the friends going into the woods to look for Red Eye (he has a conjunctivitis prone sister — Pink Eye), I call dibs on anything cool you might own.

UNSANE (March 23, 2018)
“A young woman is involuntarily committed to a mental institution. She is then confronted by her greatest fear…but is it real or is it a product of her delusion?”

Word around the produce aisle is that this movie was shot entirely on an iPhone™. Pfffft — anyone can do that because everybody in the freaking grocery store has an iPhone™. Want to really make an impression? Trying filming a horror movie using only two empty cans of Del Monte™ Creamed Corn™ tethered by a long piece of wax string. All bars in all places.

THE FIRST PURGE (July 4, 2018)
“Behind every tradition lies a revolution. Next Independence Day, witness the rise of our country’s 12 hours of annual lawlessness. Welcome to the movement that began as a simple experiment: The First Purge. To push the crime rate below one percent for the rest of the year, the New Founding Fathers of America (NFFA) test a sociological theory that vents aggression for one night in one isolated community. But when the violence of oppressors meets the rage of the marginalized, the contagion will explode from the trial-city borders and spread across the nation.”

Thanks to the current political climate, this prequel makes perfect sense. But they’re overlooking the irony; the New Founding Fathers of America (NFFA) are the ones creating the public’s aggressive behavior. Why else would the clearly Republican paperboy flip me off every day? (Okay, I may have started it. But he should be the bigger person here, the punk.)

OUR HOUSE (2018)
“A young genius accidentally invents a device that amplifies the paranormal activity within his family’s house, possibly bringing back the spirits of loved ones, and unleashing things far worse.”

Uh, no — the “young genius” didn’t invent a paranormal activating amplification device. It’s already been around for multiple decades — and it’s called a “TV”. While mine doesn’t bring back spirits of dead people, if you get the expanded programming package, you can unleash all kinds of things, far worse and beyond.

Hookers and Demons

When a 19th Century hooker is denied a baptism for her child whom the father of is in question, the entire staff of the brothel where the woman worked many back-breaking hours renounces God and proceeds to have evil rituals. They do this by having sex with paying customers. They also cut off customer legs with axes, because all brothels should be equipped with such tools of the trade lest someone wants something a little kinky every now and again.

Fast forward to modern times and three highly stereotyped teen chicks and two guys are sentenced to house arrest at an abandoned mental institution. (That tired plot device. Again.) They have to clean the place up because sweeping will scare them straight so they won’t commit any more crimes. If they do a good job, their record is clean. If they don’t, it’s the electric chair. (Sorry, wishful thinking.)

Once inside, they start experiencing spooky things, like doors opening and shutting, people with gunk coming out of their mouths and maggots in the cookie dough. Two very convenient situations: the Day of the Dead is tomorrow, which means every dead person in that zip code gets to party. Secondly, the mental institution is built on the very tainted spot the evil brothel once stood. And if you didn’t see it coming, one of the chicks is a descendant of the evil house madam, Elodia. (That name sounds so made up.) These are what we call Lottery odds.

 Throw in two priests: one who knows the girl’s past, the other from Mexico and having only one eye. The basement floor glows red when something is about to happen. This evil-meter also emits spook smoke. One by one the teens are either possessed and ripping out spines, or screaming and running for their worthless lives. The best part of Demon Slayer (2003) other than the flagrant (but welcome) display of bare boobies: one possessed chick opens her mouth and a HUGE spider crawls out. Worst part: the rest of the movie.

Loving The Dead

Messed. Up.

How else to describe the story of two bored teenage boys who break into an abandoned mental institution, find a basement door rusted shut, pry it open with a crowbar (all mental institutions have plenty on hand), and come across (ahem) a nude, feral-looking woman strapped to a table, and decide to keep her as a love slave?

They discover she can’t be killed after one of the boys, while having his, uh, romantic way with her, “accidentally” strangles her, breaking her neck and causing plum-colored bruises. The other teen, overcome with an icky feeling about how this is all wrong, decides, hey, not cool.

The horny dude lets another friend in on the secret, and the next thing you know, the woman has a bunch of new boyfriends. Pretty distasteful stuff, until the school football jock bullies find out about it and are goaded into “gang dating” the woman. You have to avoid being bitten by her as it will make you dead but still alive. Your innards will rot completely out of your butt, though.

The emo teen, thinking a living girl might make for a better relationship, makes emo eyes over the high school hottie, but she’s having none of it. This coincides with the other guys deciding they need a new dead girlfriend because this one is worn out. If you can add one plus the other one, now would be the time to do it.

Despite Deadgirl’s (2008) repugnant subtext, those guilty are paid back in spades. And hey, there’s even some dang funny moments not involving the undead girl that will help take your mind off the subject matter. You’ll need it.

Asylum of Photocopied Terror

Take an abandoned prison, turn it into the Death Row Haunted Prison Funhouse, then charge obnoxious people five bucks to wander through its spooky confines while an escaped convict from a mental institution comes back “home” to see if anybody has been messing with his stuff.

Claiming he’s “bigger than Freddy Krueger, bigger than Jason,” the maniac dons a hockey mask (for fudge sake, couldn’t they come up with anything even slightly more original?) and wanders through the funhouse, hacking and chainsawing people into pocket change.

The only scary part of Asylum of Terror (1998) comes when you realize you’ve been robbed of your video rental money, cash that could’ve been spent on refreshing alcohol instead of regurgitated slasher fare.