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Imagine my delight when I came across a movie titled “Frankenqueen”; it has a couple of stars in it’s viewers ratings and is classified as Horror. Here is the Netflix description: “A getaway at a plastic surgeon’s Malibu mansion turns deadly for a group of young men as their mad scientist hostess implements a homicidal agenda.”  Sounds like tons of fun, right?

Well, this could have been a camp-tastic horror fest if there was any horror involved in the movie. At all. A group of young men, who don’t own shirts, are staying at a mansion to participate in some unspecified scientific experiments. There are A LOT of scenes that involve an exceptionally handsome man walking in circles around the property. I’m not kidding. He walks and walks and walks while generic horror type music plays.  All of this walking tuckers him out and he lays down in bed. This is when the “mad scientist” comes in and, presumably, checks the progress of her “work”. I’m pretty sure she’s just running a book light slowly over his body to show off his obvious high level of fitness. Her tests include watching the men workout, for a really long time, and take showers. This is, basically, a porn with no sex. So, it’s a “horror” movie with no horror and a “sexy” movie with no sex. The only amusing thing about this movie, besides the eye candy, is when the mad scientist name checks Massive Dynamic. That’s right! One of these subjects is a spy and, perhaps, he’s working for Massive Dynamic!! If only I had been watching an episode of Fringe instead of this……movie. If you would still like to spend 90 minutes with this movie, then I will refrain from spoiling the “crazy” ending.

Hellbent is an independent horror movie that I happened to stumble upon on Netflix some years ago. We’re all familiar with the Netflix horror selection:it’s a lot like playing Russian Roulette sometimes. So, after a few poor choices on my part, I chose to revisit Hellbent. Directed by Paul Etheredge, it may be low budget, but it looks good, is well acted and feels exactly like a proper slasher film from the 70’s or 80’s.

It’s Halloween night in West Hollywood and four friends are dressed up and ready for a night of fun. Unfortunately for them, there is a devil-horn wearing, scythe wielding serial killer collecting heads on the loose. Eddie, the token sensible character, also happens to work for the police department and has insider knowledge that these killings are taking place. He warns his friends to be cautious, but they just don’t take him seriously. Basically, we have a group of horror stereotypes in the characters (i.e. nerd, jock, slutty guy etc.), but they’re all likaable and you quickly root for their survival. This being a slasher film, that’s not necessarily going to happen, but they’re fun while they’re around. Let’s be clear:this is a camp-tastic horror film. The killer has no obvious motive and there isn’t really any kind of backstory to anything. Much like Michael Myers, this guy is walking around on Halloween night looking for people to kill. A chance interaction with this particular group of friends is what causes the killer to focus on them. The f/x are well done for the budget, the pace moves along nicely and some scenes are truly suspenseful.

Hellbent has declared itself the “First Gay Horror Flick” and while it’s a film made by the homosexual community, it’s not specifically for any one group; it’s a slasher film through and through. One of the really refreshing things about Hellbent is that 99% of the characters are gay:not just the killer. This negative stereotype still persists in modern horror and it’s refreshing to see a movie that bucks the trend. There aren’t any moral undertones or messages in the movie. It’s just a fun horror movie with relatable characters, a creepy killer, some great low budget f/x and a wicked sense of humor. There is a particularly memorable scene involving an eyeball and, like any good slasher movie, the suggestion of a sequel. If you’re looking for a good popcorn type of horror movie, then you need look no further.

Among Friends is the full feature directorial effort of Danielle Harris. Yes, Jamie from Halloween 4 and 5 has matured into quite the scream queen and she’s now putting her talents behind the camera. Harris has stated that she was aiming for the look of a 1980’s B movie and she certainly achieved it. The movie opens with a white, stretch limo driving around L.A. to pick up party guests on their way to a themed go away party; a 1984 Prom Night Murder Mystery. It’s a fun, frenetic opening reminiscent of Valley Girl. On the way to their destination, one of the guests proclaims that “tonight is going to be killer”; oh, how very correct this statement will prove to be.

Bernadette (Alyssa Lobit, who also wrote the script) is the party host and immediately welcomes her guests with a cocktail. When everyone gathers around the dinner table, they are given their own personal clue in the mystery;these personal clues visibly upset all of the guests. When Jules (played with delightful ditziness by Brianne Davis) tries to get up from the table, it becomes apparent that everyone is paralyzed from the waist down. Everyone except Bernadette. Turns out Bernadette drugged their cocktails so they cannot escape her “party”. She also has hidden cameras throughout her house and has been taping her “friends” various indiscretions.

Ultimately, the purpose of this dinner party if for everyone to learn that they aren’t the best friends that they thought they were while various forms of torture are inflicted. Bernadette claims that she wants everyone to learn the meaning of integrity, but it really just seems as if she’s a bit of a sadist. The majority of the movie takes place in one room which is very effective at creating a feeling of confinement. The lighting is also very reminiscent of a police interrogation room. There is so much giddy, gory B movie potential, but the lack of developed characters really retracts from any kind of emotional investment. All of the guests are self absorbed, selfish, ugly people. We are never given any kind of backstory on Bernadette to explain why she feels she has the right to be judge and jury, nor do we really care. Overall, the general sense of apathy towards all of the characters is the weak point of the film. At an 80 min. run time it, actually, feels a tad bit long and the ending is so abrupt that you wonder if they simply lost the last few pages of the script and didn’t feel the need to replace them. Overall, it’s a B movie with some really great cameos, some wonderfully dark humor and if you stay for the credits, a hint of a seuqel. Among Friends is smarter and more original than “Would You Rather” or “Vile” , but a movie with Danielle Harris, A.J. Bowen and some other (surprise) horror veterans makes for some high expectations that are never quite met.

Well, hellelujah Baby Jesus! We have ourselves another pro-female horror movie that is just the bees knees. “You’re Next” , from the minds of Adam Wingard and Simon Barrett is a first class horror joy ride.

The film centers on the secluded Davison family home: Mom and Dad are celebrating their 35th anniversary and all of the kids are coming to celebrate and they’re bringing their respective partners with them. Among this group is Erin, played expertly by Sharni Vinson, the younger girlfriend of Crispian. Initially, Erin is treated with a combination of amusement and disdain. Being the former student of your older boyfriend is not looked upon kindly in this family. It’s immediately clear that this family is not the happy unit that they would like everyone to believe they are and the family dinner quicly resorts to an argument. This fight is broken up when a dinner guest is shot in the forehead with a crossbow. The house is under attack and only one person is keeping their cool and making sure everyone survives:Erin.

This is when the movie turns from just another home invasion movie into something else. This movie doesn’t leave you feeling violated (I’m talking about you, Funny Games) but, rather, invested in the survival of the characters and Erin’s ability to fight back. Turns out Erin grew up on a Survivalist Compound and is more than equipped to go toe to toe with these animals. As everyone else succumbs to their panic, Erin is looking for weapons and making booby traps. This girl is amazing because she’s not just a Final Girl, she’s a badass who doesn’t need to advertise this fact. She just is. People who are genuinely tough don’t need to showcase it all day; they simply know that if the time comes, they will be able to rise to the occasion. What a novel, fun characteristic to see in a female lead.

“You’re Next” is smart, witty and fun. The jump scares are predictable, yet effective, and it has just the right amount of humor in it. The kills elevate from realistic to wonderfully absurd. (Seriously, have we seen a better use of a blender since Gremlins?) Watching Erin evolve from girlfriend to family protector is exhilarating. You never once question if she would be capable because we’ve never seen her character as anything other than an intelligent, independent woman. “You’re Next” truly is an original, “good time” home invasion thriller. The fact that the hero is a woman, just makes it that much more exceptional.

American Mary is brought to us by the lovely Soska sisters, Jen and Sylvia, who wrote and directed this little gem of a movie. In the spirit of Women Of Horror Week, this review will be lengthy and have spoilers. So, if you haven’t yet seen American Mary I suggest you rectify that immediately.

Mary Mason, played with both apathetic and tortured precision by Katherine Isabelle, is a surgery student finding it extremely difficult to keep up financially. We are introduced to her as she practices sutures on a turkey, while we listen to a loose version of Ave Maria. Mary’s instructor, Dr. Grant, pulls Mary aside to tell her that she is one of his most promising students and she needs to stop messing about because “surgeons don’t make mistakes’.  After squabbling with a bill collector on the phone, Mary pursues the personal ads and responds to a job offer at a strip club. This is when we are introduced to Billy, the proprietor of Bourbon-A-Go-Go. During the interview Billy is called away and when he returns, he asks Mary if she wants to make $5000, no questions asked. Reluctantly, Mary agrees out of financial desperation and is visibly shaken after she finishes the job;she returns home and cries.

Just when she finds out she has lost her waitressing job, Mary receives a call from Beatress Johnson. Beatress is a living, breathing replica of Betty Boop. She works at Billy’s club, learns of Mary’s medical skills and requests Mary to perform a procedure on a friend. Beatress explains that her and her friends are trying to make their outsides look the way they feel on the inside:this particular sentiment comes up quite a bit in the movie. As Mary begins taking on patients who desire unconventional procedures, she learns of the body modification community. Members of this community want nothing more than for their outsides to match their insides in whatever way that entails (i.e.) implants, teeth filing, genital modification, voluntary amputation, etc.

Ruby Realgirl is Mary’s first major surgery. Ruby explains that she wants to look like a doll because dolls can be naked and never feel shy, or sexualized of degraded. I cannot speak for all women, but it’s hard not to feel that way when you’re clothed,much less naked, so this statement really resonated with me and made me look a little deeper. During this surgery, we are treated to Ave Maria again, but it’s a bit more polished than the version at the opening of the movie. Only the Soska sisters could have made a surgery where a woman loses her sexual identity look so tender and graceful. Mary takes great care with Ruby and it’s truly beautiful.

Dr. Grant and his colleague, Dr. Walsh, invite Mary to have drinks with them and some other surgeons that evening; Mary is so pleased to accept this invitation. Wearing a stunning emerald green dress given to her by Ruby Realgirl, Mary enters Dr.Grant’s apartment and is immediately handed a drink. It is brought to Mary’s attention more than once that she has, obviously, found a way to make good money. Essentially, the Dr.’s have assumed that Mary has turned to prostitution, which is why they have invited her, drugged her drink and believe they are allowed to violate her. As Dr. Grant videotapes himself raping Mary, it’s striking how this particular rape scene is  traumatizing in a truly visceral way:it’s tragic, but not gratuitous and violent. The Soska sisters have managed to film an ugly, yet beautiful, rape scene:it’s emotionally haunting, but doesn’t leave a mental scar. When Mary wakes up next to Dr. Grant and realizes what has occurred, we watch her humanity die as she rides the elevator down from his apartment.

Mary requests for Billy and his thugs to bring Dr. Grant to her apartment. Mary turns on some smooth jazz and then proceeds to practice body modification surgeries, sans anesthesia, because “surgeons don’t make mistakes”. The camera turns away from the actual violence which is, really, more effective at making you cringe. Mary quickly becomes a popular surgeon within the body modification community. We are even treated to a lovely cameo by the Soska sisters as two of Mary’s patients. The more Mary detaches herself from what she’s doing, the more distant and hollow she becomes;she’s merely a shadow of who she was. The people around her are scared of her and don’t believe that she has feelings. When visiting Dr. Grant, whom she is keeping alive in a storage unit hanging from hooks with no limbs and his mouth sewn shut, she is found by a security guard. Mary literally beats the life out of this poor security guard and everything goes downhill from here.

Wearing the only white you will see in the movie, Mary meets her demise at the hands of Ruby Realgirl’s husband. He is not pleased with his “new” wife and decides to wait at Mary’s house for her and proceeds to stab her. Mary manages to kill him and as she drags herself to her surgery room, Ave Maria starts again. This time, it is an exquisite version playing over the image of Mary in her white dress, on a white floor, surrounded by a pool of her own blood as she stitches herself up. Stunning.

On a practical level, American Mary is a great horror movie with it’s own unique esthetic and really intriguing subject matter. As a woman I was really struck by the story of a woman trying to succeed in a, decidedly, man’s world. It’s the men who chip away at her little by little and, eventually, consume her. All of her clients just want to look the way that they feel and not be judged for it:this is something we can all identify with. Women seem to be particularly judged by their looks in our current society. Women are no longer allowed to age and they certainly aren’t allowed to enjoy food or dress as though they’ve matured past the age of 19. In a Rue Morgue interview Katherine Isabelle has been quoted as saying, “As a young, attractive female, I now have to sell a brand, I have to have a definable style;it’s annoying. Being a girl is time consuming and boring and annoying, when it comes down to having to do your fucking hair and your makeup and your outfit and everything. It’s suffocatingly dull.” Society has simply put a lot of demands on women today, some of which are just ridiculous, and American Mary explores this is a very unique way. As her world spirals out of control, Mary looks more and more put together. She puts on her armor of makeup and clothing to deal with the world externally in a successful manner, but internally she is failing miserably. Ultimately, Mary succumbs to the world that she has put herself in, but she goes out her way, on her terms. This movie is a breath of fresh air for women in horror. The lead is flawed, but not helpless, confused but not weak, put upon by societal standards but not beaten down by them. Mary Mason is a flawed heroine and it’s gorgeous.