The Breathing Dead blog

Echoes of Yesteryear! A Return to Fiction

breathingdeadtales@gmail.com (A. M. Esmonde) — Sun, 18 Oct 2026 18:30:00 +0000

It’s been a long time coming.

After a hiatus of several years, I’m delighted to be bringing readers a new novel. Echoes of Yesteryear marks my return to fiction, blending horror, mystery and thriller elements into a story where the past refuses to stay buried.

Kurtwood Ferryman was once a familiar face on national television, claiming to communicate with the dead. Then the voices stopped, his reputation collapsed, and the world branded him a fraud.

But what if the truth is far more disturbing?

With Halloween approaching, it seems a fitting time to invite you into this one. I won’t reveal too much just yet. Some things are best discovered between the pages.

The Kindle edition is available to pre-order now.

Universal link: https://a.co/d/04IhJAIm⁠

Thank you to everyone who has stuck around during my time away. It’s good to be back.

A. M. Esmonde

Echoes of Yesteryear – Amazon Kindle Links

UK: https://www.amazon.co.uk/dp/B0HKW5KLSH⁠
USA: https://www.amazon.com/dp/B0HKW5KLSH⁠
Canada: https://www.amazon.ca/dp/B0HKW5KLSH⁠
Australia: https://www.amazon.com.au/dp/B0HKW5KLSH⁠
Germany: https://www.amazon.de/dp/B0HKW5KLSH⁠
France: https://www.amazon.fr/dp/B0HKW5KLSH⁠
Italy: https://www.amazon.it/dp/B0HKW5KLSH⁠
Spain: https://www.amazon.es/dp/B0HKW5KLSH⁠
Netherlands: https://www.amazon.nl/dp/B0HKW5KLSH⁠
Japan: https://www.amazon.co.jp/dp/B0HKW5KLSH⁠
India: https://www.amazon.in/dp/B0HKW5KLSH⁠
Brazil: https://www.amazon.com.br/dp/B0HKW5KLSH⁠
Mexico: https://www.amazon.com.mx/dp/B0HKW5KLSH⁠

Universal link: https://a.co/d/04IhJAIm⁠

Night Teeth (2021) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Mon, 12 Oct 2026 14:43:02 +0000

A young last minute replacement chauffeur takes a job driving two mysterious women around Los Angeles, only to discover that his passengers are vampires caught up in a deadly power struggle.

Adam Randall's Night Teeth feels like Collateral mixed with 1980s vampire hijinks. The on-location feel gives the film an appealing sense of nocturnal Los Angeles, although the crisp, polished photography occasionally works against the atmosphere.

Jorge Lendeborg Jr. Is excellent as Benny, the unsuspecting driver, bringing charm and vulnerability to the role. Australian actress Lucy Fry and Debby Ryan make an effective vampire double act, while Alfie Allen and Raúl Castillo add menace as rival figures in the city's underworld. Megan Fox and Sydney Sweeney cameo.

Eben Bolter's cinematography captures the city beautifully, while Drum & Lace and Ian Hultquist's score helps sustain the late-night mood. The film could have been more cinematic in its presentation, but writer Brent Dillon high-concept setup, bloody moments and jokes that hit more often than they miss make it a great deal of fun.

Night Teeth may lack the grit and visual flair to make it truly memorable, but there is enough attitude, bloodshed and old-school vampire mischief here to make it an entertaining ride.

Intruder (1989) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Fri, 09 Oct 2026 17:30:00 +0000

After being fired from a supermarket, an increasingly unstable employee returns and begins terrorising the staff, while a killer lurks among them.

Scott Spiegel's Intruder has almost every ingredient a 1980s horror fan could ask for: a grimy supermarket location, inventive kills, practical effects, atmospheric music and a cast that commits to the material. There is a real sense that this could have become a much bigger cult favourite.

Elizabeth Cox gives a strong performance as Jennifer, with Renee Estevez, David Byrnes and Sam Raimi adding to the film's appeal. The practical effects by KNB EFX Group are the real highlights, while Fernando Arguelles' cinematography makes good use of the supermarket setting. Dick Walter and Graham De Wilde's music adds further atmosphere.

The problem is that something never quite clicks. It is difficult to tell whether the direction, editing or both are responsible, but the film often feels awkwardly assembled and lacks the momentum its ingredients deserve.

Intruder has everything there, yet somehow never becomes the film it could have been. A nasty little supermarket slasher with excellent practical effects, a great location and plenty of cult potential, but even with Elizabeth Cox's strong lead performance, it ultimately falls short.

Vampires (1998) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Thu, 08 Oct 2026 18:19:24 +0000

A team of Vatican-backed vampire hunters led by Jack Crow finds itself facing an ancient master vampire who wants to obtain a relic that will allow the undead to walk in daylight.

John Carpenter’s Vampires is a kooky blast of action, horror and attitude. The high-concept setup is excellent, turning vampire hunting into a blue-collar job with guns, trucks, winches and plenty of blood. Carpenter sets the tone immediately and never seems particularly interested in taking the traditional vampire mythology too seriously. Yet, still throws in a few serious twists.

James Woods is perfectly cast as Jack Crow, with Daniel Baldwin equally effective as his right-hand man, Montoya. Sheryl Lee makes an impression as Katrina, while Thomas Ian Griffith is suitably imposing as the master vampire Valek. Maximilian Schell and Tim Guinee also add to a strong supporting cast.

The practical effects hold up remarkably well, giving the violence and vampire deaths a physical quality that CGI often struggles to replicate. Gary B. Kibbe’s filter filled cinematography also suits the dusty Western atmosphere, making the film feel as much like a modern vampire Western as a traditional horror film.

John Carpenter’s score fits perfectly, with a bluesy, guitar-driven sound that occasionally feels like They Live transported into the New Mexico desert. It adds to the film’s attitude and gives the action sequences plenty of drive.

I have no doubts, even now, that Vampires would not have been made in quite this form without the sleeper success of From Dusk Till Dawn two years earlier. The combination of vampires, hard-edged action, black humour and genre irreverence feels unmistakably of the same moment. Carpenter, however, gives the material his own tongue-and-cheek, western-inflected identity.

Nonchalant, violent, quotable and occasionally ridiculous, Vampires knows exactly what sort of film it wants to be. It is not Carpenter at his most sophisticated, but it is a hugely entertaining genre ride, with strong casting, excellent practical effects and a great high-concept premise.

Evil Dead Burn (2026) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Tue, 06 Oct 2026 17:30:00 +0000

After the death of her husband, Alice seeks solace with her in-laws, only for a family gathering to become a terrifying confrontation with the Deadites.

Sébastien Vanicek's Evil Dead Burn takes the franchise in a direction that is further removed from The Evil Dead. I enjoyed Evil Dead Rise, but here the domestic family arguments and increasingly familiar supernatural-adventure influences feel further removed from the cutting, nasty spirit of the earlier films.

Hunter Doohan brings strong screen presence as Joseph, with Souheila Yacoub excellent as Alice. Tandi Wright, Luciane Buchanan and the supporting cast deliver solid performances, even when the material doesn't always give them enough to work with.

Technically, there is plenty to admire. Philip Lozano's cinematography is impressive, the film contains some effective horror set pieces and visual ideas, and the effects are outstanding. The Deadites still deliver suitably creepy moments, while the production shows clear ambition. However, with the French-inspired elements and a few conceptual tweaks, it could almost be a REC instalment, something from The Conjuring universe, or even The Exorcist series.

There are also some effective ideas, but the film increasingly feels closer to adult oriented Stranger Things-style supernatural chiller, particularly in its closing stages. Again, Evil Dead Rise does fit closer to the energy of a modern Evil Dead film, but not as fresh as its predecessors.

Evil Dead Burn has good performances, strong visuals and is entertaining, but its domestic themes, and increasingly familiar supernatural influences stop it from feeling like an Evil Dead.

The humorous tagged-on credit scene simply doesn't cut it. An after-credits scene then tantalisingly connects it to Evil Dead Rise - appealing in itself, yet ultimately making the whole exercise feel like cheating.

Friday the 13th: Part 3 (1982) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Mon, 05 Oct 2026 17:00:00 +0000

Contains Spoilers!

Jason Voorhees returns, stalking a group of young adults at Higgins Haven for another bloody night at Crystal Lake.

Like Steve Miner's predecessor, Part III opens with a lengthy recap of Part 2 in true 1980s horror tradition. What's notable is the absence of Amy Steel's Ginny Field, one of the series' strongest Final Girls-no return, not even a cameo like Adrienne King's Alice previously.

The opening quietly rewrites the previous ending: Jason pulls the machete from his shoulder and crawls away, confirming the final window attack was Ginny's dream.

Miner introduces Richard Brooker as Jason, giving him a heavier, more physically imposing presence and a stronger Michael Myers-style lurking menace. Later the dreaded burlap sack from Part 2 is gone, replaced by the iconic hockey mask that becomes inseparable from the character. (This is still the living, wounded Jason-not yet the unstoppable undead figure of later entries.)

The new group arrives at Chris Higgins' family property (house and barn beside the lake): Dana Kimmell as the traumatised Chris, Paul Kratka as her slightly hunky, goofy ex Rick (who drives a VW Beetle), Memorable Tracie Savage as pregnant Debbie, notable Catherine Parks as Vera, Larry Zerner as practical-joker Shelly, Jeffrey Rogers as juggling Andy, Rachel Howard as Chili, and David Katims as pot-smoking, popcorn-loving Chuck.

Kimmell is given the most character; Chris's knife-attack trauma two years earlier (an interesting backstory that appears linked to Jason) gives her vulnerability and purpose when she finally recognises him.

The rest are classic 1980s types, that said, Debbie's pregnancy is an unusual series touch that has rarely been explored since-but motivations elsewhere stay thin. Abel (David Wiley), the bearded local, effectively replaces Crazy Ralph as the ominous warner.

An '80s-stereotype bike gang (Fox the arsonist, burly Ali, Loco) drops in to pad out the body count and pays off later.

The first hour is slow-paced; with the attractive young women sharing screen time, it takes a while to lock onto the Final Girl. Parks' Vera Sanchez could have easily been the one to root for, but sadly bites the spear dust in one of the film's most memorable setups.

Incidentally, excellent Catherine Parks (Vera) and Dana Kimmell (Chris) stay fully clothed the entire film, with no undressing, shower, or sex scenes for either character. It's a minor but noticeable break from the franchise's (and genre's) typical "sex = death" visual language for the women. The movie still has the expected teen partying, implied sex (the hammock couple), and kills, but Parks and Kimmell's characters specifically avoid the clothing-removal trope.

In turn, the nudity is tamer and more limited than in Part 2, including some later entries, though Debbie's memorable bikini-and-shower sequence still delivers the expected sleaze.

The kills are basic yet realistic and varied enough to stick: Harold (meat cleaver), Edna (knitting needle), Fox and Loco (pitchfork), Vera's classic speargun-through-the-eye, Andy sliced during a handstand, Debbie's Kevin Bacon-style hammock stab, Shelly's throat-cut "boy who cried wolf" demise, Chuck's electrocution, Chili's burning poker, Rick's famous eye-popping skull crush, and Ali finished with a machete.

A classic Final-Girl trope appears when Chris discovers the hidden bodies of her friends.

Shot specifically for 3-D (Martin Jay Sadoff supervising), the film leans hard into the gimmick-wooden poles, joints, chains, yo-yos, popcorn, rats, pitchfork, speargun, fire poker, even Rick's eye flying at the camera. Some are ridiculous, but they're part of the charm.

Harry Manfredini returns, joined by Michael Zager on a funky, disco-infused reworking of the theme that gives the score a fresh 80s vibe alongside the familiar stings that punch up the jump scares.

Gerald Feil's cinematography is strong across the ranch, woods, lake, house and barn, though the budget clearly prioritised the 3-D effects and the closing makeup (including Pamela's left-field lake jump-scare). The ending has its logic gaps: Jason's axe-to-the-head body is left undiscovered, his fate open.

The result is pure 1980s slasher: attractive young adults, sex, drugs, practical effects, comic relief and a rising body count. It sets the stage for later camp-set imitators such as Cheerleader Camp (1988) and locks in several franchise essentials-most notably the hockey mask, machete and Brooker's imposing Jason.

Part III is ultimately a paint-by-numbers affair; the string of kills is more obvious than in stronger entries, the pacing slow to ignite and the 3-D gimmicks occasionally overwhelming the drama. Yet Brooker's Jason, the mask's debut, Feil's photography, Manfredini and Zager's music, and a handful of memorable kills make it an enjoyable slice of 80s horror.

Overall, it may not be the series' best, but it certainly lays down the foundation that followed.

Fright Night Part 2 (1988) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 19:42:39 +0000

Three years after the events of the original, Charley Brewster is trying to put his encounters with vampires behind him, but when a mysterious woman arrives in town with her own supernatural entourage, he and Peter Vincent are drawn back into the world of the undead.

Tommy Lee Wallace's Fright Night Part 2 offers more of the same, with solid setups and some enjoyable ideas, although the comedy occasionally lands better than the horror. Wallace, who previously directed Halloween III: Season of the Witch and would later direct It, keeps the film moving at a good pace, but there is a sense that the formula is beginning to feel tired.

Mark Irwin's cinematography maintains the dark, colourful atmosphere of the original, while the excellent practical effects retain that unmistakable 1980s charm. The werewolf and vampire transformations are particularly effective, with the physical makeup and creature work having a tangible quality that outdoes the weightless CGI that would become commonplace years later.

William Ragsdale returns as Charley Brewster, while memorable Traci Lind replaces Amanda Bearse as Alex, Charley's new girlfriend. Lind feels closer in age to Ragsdale and makes Alex a more natural fit for the character.

Chris Sarandon is sorely missed, and the sequel inevitably feels different without Jerry Dandridge. Still, stunning Julie Carmen is excellent as Regine Dandrige, Jerry's sister, bringing her own presence and style to the female vampire. Jon Gries plays Louie, a twitchy vampire who effectively fills the mischievous role left vacant by Evil Ed, while Brian Thompson's imposing Bozworth serves as another physical threat in place of Billy Cole.

Roddy McDowall remains the highlight as Peter Vincent. His hair is a little better and more natural this time, and McDowall again provides much of the film's charm and humour.

Brad Fiedel returns with another synthesiser-driven score that provides atmosphere and continuity with the first film. There is less reliance on prominent soundtrack music this time, allowing Fiedel's music to carry more of the mood and suspense.

Interestingly, Tom Holland's Fright Night had influenced The Lost Boys, but this time the sequel appears to borrow from the 1987 film, including the idea of the lead becoming a vampire. Fright Night Part 2 consequently feels as though it has come full circle, taking elements that had become familiar through another vampire film and bringing them back into its own world.

Fright Night Part 2 is still an enjoyable 1980s vampire sequel. The practical effects, performances and Fiedel's score give it plenty of atmosphere, while McDowall remains terrific as Peter Vincent. It may not have the bite of the original, but there is enough old-school horror charm here to make it worth revisiting.

Fright Night (1985) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 18:53:06 +0000

A teenage horror fan becomes convinced that his new neighbour is a vampire, but when nobody believes him, he turns to the washed-up actor who once played a vampire hunter on television.

Tom Holland's Fright Night is a great mixture of horror, comedy and atmosphere. His direction grounds the supernatural story in an ordinary suburban neighbourhood, giving it an appealing seemingly on-location feel.

Jan Kiesser's cinematography looks fantastic, shifting from warm suburban interiors to dark and sinister nights. The film also benefits from outstanding practical effects, with Richard Edlund overseeing the visual effects and Steve Johnson and Randall William Cook responsible for creature design. The vampires and transformations, particularly Jerry and Amy's creepy vampire forms and the memorable bat and wolf sequences, remain excellent examples of 1980s effects work.

In true '80s fashion, the teens are played by twenty-somethings that add to the charm. William Ragsdale is excellent as Charley Brewster, with Amanda Bearse equally effective as Amy Peterson. Stephen Geoffreys brings plenty of energy to the ill-fated Evil Ed, while Jonathan Stark's Billy Cole makes an effective Renfield-type servant. Chris Sarandon is perfectly cast as Jerry Dandridge, combining charm and menace to make him a scary, seductive vampire.

Roddy McDowall is superb as Peter Vincent, the sceptical, washed-up television actor who has spent his career pretending to be a vampire hunter before being forced to become the real thing. His performance provides much of the film's heart and humour.

The affection for classic vampire cinema is evident throughout, from crosses and mirrors to bats, wolves, coffins and the rules of the undead. The soundtrack and Brad Fiedel's (The Terminator) score complements it beautifully, moving between suspense, and unmistakable '80s energy.

It also sits comfortably alongside the horror-comedy of House, which followed later in 1985, while exploring territory that The Lost Boys would develop two years later. Both films feature self-aware teenage characters, a single mother, a head vampire and a mixture of vampire mythology and humour. Holland's film, however, has a distinct identity and never loses its affection for classic vampire cinema.

Fright Night remains an exceptionally enjoyable 1980s vampire film. Bloody, funny and atmospheric, it combines strong performances, practical effects and confident direction without losing sight of the horror. A slice of '80s cinema that still holds up.

Prom Night (1980) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 17:00:00 +0000

After the death of a child, six years later four high-school seniors are terrorised on their prom night by a masked killer.

Director Paul Lynch’s Prom Night is surprisingly effective from the outset. The opening sequence builds atmosphere and cruelty with genuine unease, particularly because the horror is shown from the children’s perspective. Some of the child performances are very effective.

Six years later, the four children involved, Nick McBride (Casey Stevens), Wendy Richards (Anne-Marie Martin), Kelly Lynch (Marybeth Rubens) and Jude Cunningham (Joy Thompson), are now teenagers preparing for their senior prom, their past still hanging over them. Leslie Nielsen plays their father, Mr Hammond, with George Touliatos as Lieutenant McBride.

Jamie Lee Curtis, fresh from Halloween and The Fog, brings strong screen presence as Kim Hammond. She is especially memorable in the disco sequences, where she gets to do more than simply run from a masked killer. Leslie Nielsen is interesting in a serious dramatic role, years before comedy came to dominate his career.

There is a little gratuitous nudity and sexual material, yet for an early-80s slasher the film is comparatively restrained. Moody lighting, Robert C. New’s cinematography and on-location shooting give it a distinctly gritty early-80s atmosphere. The score by Carl Zittrer and Paul Zaza, with its disco-infused music, creates an unusual mix of dance-floor energy and tension that helps define the prom sequences.

The slow pacing of the first hour may not suit everyone, but it eventually pays off with suspenseful moments, engaging character beats, some funny phone calls and memorable set pieces, including a very effective severed head rolling across the dance floor.

Written by William Gray from a story by Robert Guza Jr., the film draws heavily on Halloween, Friday the 13th, Carrie, Black Christmas and other slasher predecessors. Interestingly, the story also features Leonard Murch, a suspected sex offender who was wrongly believed by the police to have been responsible for the child’s death. His burned appearance and association with a child murder inevitably bring to mind the later Freddy Krueger, although Prom Night predates A Nightmare on Elm Street by four years.

Still, Lynch supplies enough atmosphere and mystery to keep the film engaging rather than turning it into a pure body-count exercise. Alongside the blood and, at times, annoying 80s slow motion, it delivers a few good shocks and scary-enough sequences, without the masked killer armed with an axe, knife and broken mirror, even if some moments are admittedly clunky. Ultimately, it remains a formulaic entry padded with disco.

Without its strong opening, Jamie Lee Curtis and the lingering mystery around the killer, Prom Night could easily have been forgettable. As it stands, Curtis, the atmosphere, and early-80s grit make it worth watching.

Hellraiser: Judgment (2018) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 13:00:37 +0000

Detectives Sean and David Carter are on the case to find a gruesome serial killer terrorizing the city. Joining forces with Detective Christine Egerton, they face dangers that may not be of this world.

Hellraiser: Judgment attempts to inject new life into the series by combining the Cenobite mythology with a police investigation, but the result is another uneven direct-to-video entry.

Gary J. Tunnicliffe directs and writes, with Damon Carney leading as Detective Sean Carter alongside Randy Wayne and Paul T. Taylor as Pinhead. Taylor brings his own presence to the role, but replacing Doug Bradley was always going to be noticeable. Incidentally, for an attempt to inject some horror credence into this outing Heather Langenkamp, known for her role as Nancy Thompson in A Nightmare on Elm Street (1984) appears.

The film has some suitably grotesque imagery and practical effects, particularly surrounding the new Auditor character, but the grimy presentation and convoluted story never recapture the atmosphere of the originals. After so many missed opportunities, it feels more like another attempt to keep the franchise alive than a genuinely satisfying continuation.

It's better than the 2011 instalment. There are flashes of the old Hellraiser, but they are buried beneath another disposable DTV-era sequel.

Hellraiser: Revelations (2011) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 12:59:05 +0000

Two friends discover a puzzle box that opens a gateway to a realm inhabited by sadomasochistic monsters known as the Cenobites.

Hellraiser: Revelations feels like a particularly low point for the series, with the mythology reduced to a cheap-looking direct-to-video outing. Steven Brand and Nick Eversman lead the cast, while Victor Garcia directs, but there is little of the atmosphere, imagination or practical horror that made the earlier films distinctive.

The film looks and feels exactly like what it is: a rushed, low-budget production with Doug Bradley absent as Pinhead, replaced by Stephan Smith Collins. Even the Cenobites struggle to recapture the grotesque appeal of their predecessors.

There are a few nasty moments, but they cannot disguise how lacklustre the whole affair is. A disappointing entry that does little with the fascinating mythology at its disposal.

Hellraiser: Hellworld (2005) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 12:50:49 +0000

A group of young people gather around an online Hellraiser-themed game.

By Hellraiser: Hellworld, the series has almost completely embraced the standalone anthology approach, leading to another story where the franchise mythology feels more like a framework than the main attraction.

Katheryn Winnick, Christopher Jacot, Khary Payton and Henry Cavill make up the young cast, with Lance Henriksen providing the most recognisable supporting presence as the Host. Cavill, years before becoming Superman, has an early supporting role as Mike and already has an unmistakable screen presence. Doug Bradley once again returns as Pinhead.

Rick Bota directs, with Gabriel Kosuth's cinematography giving the film a reasonably polished, dark look, while Lars Anderson provides the score. There are some decent practical effects and a few nasty moments, but the concept feels increasingly detached from the original Barker mythology.

There is an interesting idea buried somewhere inside Hellworld, but once again Pinhead is largely relegated to bookend duty. It is a watchable piece of mid-2000s horror, helped by Henriksen and the young cast, but it also demonstrates just how far the series had drifted.

Hellraiser: Deader (2005) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 12:46:59 +0000

A reporter in London discovers an underground group which can bring back the dead.

Hellraiser: Deader moves into resurrection and the possibility of returning from death, giving the series another interesting concept to play with. Kari Wuhrer leads as journalist Amy Klein, with Paul Rhys as Winter and Simon Kunz as Charles, while Doug Bradley returns as Pinhead.

Wuhrer is easily the film's strongest asset, giving Amy enough determination and vulnerability to carry what is an increasingly muddled story. Rick Bota returns to direct, and although the film has some effective moments, the narrative feels stretched and the connection to Hellraiser sometimes seems bolted on rather than naturally developed.

Vivi Dragan Vasile's cinematography gives the film a hazy, grimy European atmosphere, while Henning Lohner's score supplies an appropriately sinister backdrop. There are some good practical effects and enough blood to keep things moving, but Pinhead remains largely a supporting presence rather than the driving force.

There are dark pleasures here, but Deader is another example of how poorly the series was being served. The premise could have worked as its own supernatural horror film, while the Hellraiser elements feel increasingly like an obligation rather than the heart of the story.

Hellraiser: Hellseeker (2002) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 12:40:42 +0000

An amnesiac survivor of a car crash who navigates a surreal psychological maze while being investigated for his wife's disappearance.

Hellraiser: Hellseeker returns to the familiar puzzle box and Cenobite mythology, but again feels more like a psychological mystery than a traditional Hellraiser sequel. Dean Winters takes the lead as Trevor Gooden, attempting to piece together what has happened to him following a serious car accident, while the story gradually introduces the darker side of the series.

Winters gives the film a suitably disorientated central performance, while Ashley Laurence makes a welcome return as Kirsty Cotton. Her appearance is brief but significant for fans of the original films, and Doug Bradley once again brings his familiar presence to Pinhead. Rick Bota directs, delivering a restrained low budget outing.

John Drake's cinematography gives the film a suitably cold, polished look, while Stephen Edwards' score provides much of the tension. There is blood, some effective Cenobite imagery and a handful of decent shocks, although the film spends more time playing with its mystery than delivering the visceral horror associated with the original series.

Arguably the best of a bad bunch. Above average for what the series had become, but ultimately Hellseeker feels like another Creepshow or The Twilight Zone-style tale with Pinhead bookending the story. Kirsty's return is the main connection to the earlier films, but the series was already drifting further from the distinctive identity that made the first three so memorable.

Hellraiser: Inferno (2000) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 12:36:19 +0000

A shady police detective becomes embroiled in a strange world of murder, sadism and madness.

Hellraiser: Inferno takes the series somewhere rather different, combining its mythology with a grim supernatural detective story.

Nightbreed's Craig Sheffer leads as corrupt detective Joseph Thorne, with Nicholas Turturro as Tony and James Remar as Dr Gregory, while Doug Bradley returns as Pinhead. Sheffer carries the film reasonably well as the increasingly troubled Thorne, and Scott Derrickson, making his feature directorial debut, gives it a suitably dark, nightmarish atmosphere.

Nathan Hope's cinematography gives the film a suitably grimy, oppressive look, while Walter Werzowa's music adds to the uneasy, psychological atmosphere. There are some genuinely nasty practical effects and disturbing Cenobite imagery, although Pinhead himself is used more sparingly than fans might expect.

With half the budget than Bloodline (1996) Inferno is an above-average production with plenty of blood and chills, but it feels more like a dark supernatural thriller that has been absorbed into the Hellraiser universe. It arguably sits on par if not below seeker, and is an interesting experiment and considerably more ambitious than a simple repeat of the earlier formula, even if it lacks the raw impact of the first three films.

Hellraiser: Bloodline (1996) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 03 Oct 2026 12:31:06 +0000

This instalment of Hellraiser follows the bloodline of the creator of the puzzle box, the 'Toy Maker,' and his plan to summon and destroy Pinhead forever.

Despite a theatrical release, Bloodline looks and feels at times like a TV movie, and the acting is occasionally below average, possibly due to the script. That said, Doug Bradley is fine as Pinhead, and Valentina Vargas (In the Name of the Rose) is noteworthy as the demon Angelique. Channelling Meryl Streep, Kim Myers (Nightmare on Elm Street 2: Freddy's Revenge) is great, but her screen time is sadly limited.

The story's concept is quite good and includes (one assumes) the building in the third installment and the history of the box. It is told in flashbacks by Dr. Paul Merchant in the year 2127 and follows his descendants, Phillip L'Merchant in the 18th century and John Merchant in 1996. Sadly, it's poorly executed and let down by an uneven screenplay, bland direction, and sub-par sets. The effects are a mixed bag; some are well done, while others are less convincing and tame. To its credit, it does have atmosphere, helped by the score.

It appears to have a troubled shooting history, as there were two directors: Kevin Yagher (under an alias Alan Smithee) and Joe Chappelle (uncredited). This may be one cause and result of such an unsatisfying fourth installment.

Overall, the producers didn't give such a bankable character as Pinhead the attention he deserved, leaving the viewer as empty as the 22nd-century space setting. Nevertheless, it has its moments, but won't tear your soul apart.

Friday the 13th: Part 2 (1981) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Fri, 02 Oct 2026 17:30:00 +0000

Five years after the events at Camp Crystal Lake, a new group of counsellors arrive at a nearby camp, unaware that the legend of Jason Voorhees is about to become very real.

Directed by Steve Miner in his feature directorial debut, Friday the 13th Part 2 has some of the tropes synonymous with 80s horror: the opening recap, nightmare and flashback sequences, the isolated camp, warnings from the locals and, of course, a steadily increasing body count.

There are also some welcome returning faces. Adrienne King briefly returns as Alice Hardy, while Walt Gorney is back as Crazy Ralph, still warning anyone who will listen to stay away. Betsy Palmer also makes a brief but effective return as Mrs Voorhees.

Jason is hidden beneath a rough sack rather than the hockey mask that would become synonymous with the character from partway through Part 3. It is a pity the mask was still one film away, although there is something genuinely creepy about this primitive, almost feral version of Jason, played by Warrington Gillette.

The kills are memorable: Alice is stabbed in the temple with an ice pick; Crazy Ralph is garrotted with barbed wire; Deputy Winslow takes the claw of a hammer to the back of the head; Scott has his throat cut while hanging upside down in a rope trap; Terry is killed off-screen; Mark is struck in the face with a machete before his wheelchair crashes down the stairs; Jeff and Sandra are impaled together with a spear in bed; and Vickie is stabbed in the stomach. That makes nine confirmed deaths.

The ginger-haired Ted, played by Stuart Charno, provides some of the film’s comic relief and survives, last seen drunk at the local bar. John Furey’s Paul is a solid lead alongside Amy Steel’s Ginny, although his unexplained disappearance is one of the film’s stranger loose ends.

Kirsten Baker’s Terry, introduced in her Minnie Mouse T-shirt and denim shorts, is certainly memorable, particularly during the film’s gratuitous skinny-dipping sequence. But it is Amy Steel who really holds the film together. Her Ginny is intelligent, grounded and studying psychology, while her drinking, chess playing and ability to understand Jason give her a personality beyond the usual Final Girl. Steel’s performance brings a convincing humanity to the character, making her final confrontation with Jason particularly effective as she uses his relationship with his mother against him.

However, the slow-motion jump scare that follows, with Jason (without the head-sack) crashing through the window, and the subsequent close-up of Mrs Voorhees’s decomposed head slightly robs the preceding climax of its impact.

Miner’s direction is excellent, especially in the way he builds anticipation before the kills and repeatedly uses shadows, darkness and carefully timed jump scares. He understands that sometimes what you don’t see can be as effective as what you do.

It looks great, too. Peter Stein’s cinematography gives the film crisp warm feel for the first half hour or so, then a cold, atmospheric quality when the scares begin, while Harry Manfredini’s music remains the essential glue, turning the woods, cabins and empty spaces into places of genuine unease.

Overall, Friday the 13th Part 2 may essentially be repeating the formula, but Steve Miner understands exactly what made the original work and knows when to let the atmosphere do the heavy lifting. It establishes Jason as the franchise’s central monster while giving us one of the series’ strongest Final Girls in Amy Steel.

Dracula (2025) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Tue, 29 Sep 2026 17:30:00 +0000

A 15th-century prince loses the woman he loves, renounces God and becomes Dracula, spending centuries searching for her reincarnation while leaving a bloody trail behind him.

Luc Besson's Dracula: A Love Tale is another take on Bram Stoker's immortal vampire, but this time Besson leans heavily into the doomed romance. Caleb Landry Jones is excellent as Dracula, with Zoë Bleu Sidel as Elisabeta/Mina, Christoph Waltz as the relentless priest and memorable Matilda De Angelis as the wonderfully feral Maria (a Lucy type character from the novel).

The opening is particularly effective, as Dracula loses his love in a breathless chase across the snow before the story jumps through the centuries. Besson changes the way Dracula searches for Mina, introducing his perfume experiments and having him use attacks and his followers to aid his quest. The gargoyles are another odd but entertaining addition, along with the passage of time dances that gives the story a much broader sweep.

It's sensual, it's bloody and it's much more of a love story and tale of sacrifice than some versions, while still delivering plenty of gothic horror and action. Jones's Dracula is also considerably more sympathetic, which changes the dynamic of the character without completely removing the deadly monster. Waltz's vampire hunter priest is humorous, frank, nonchalant and likeable. He makes a wonderful and methodical Van Helsing-type. The Clerk, Raphael Luce, Doctor Dumont played by Guillaume de Tonquédec, and Ewens Abid's quirky Harker are memorable and round out the cast. In addition, Henry Spencer, played by British actor David Shields is notable.

Colin Wandersman's cinematography is beautiful, with Hugues Tissandier's elaborate sets and Corinne Bruand's costumes giving the film a suitably lavish period atmosphere. Danny Elfman's music fits the gothic melodrama perfectly.

Of course, Dracula adaptations are hardly in short supply. From Universal's Dracula and its Spanish-language companion, Hammer's 1958 classic, Blood for Dracula, Nosferatu the Vampyre, Vampire in Venice and countless others, we've been here many times before. Besson's version feels more contemporary, somewhere between Interview with the Vampire, Francis Ford Coppola's Bram Stoker's Dracula and Robert Eggers' recent Nosferatu, while successfully putting his own strange spin on the material.

It doesn't reinvent Dracula, but Besson makes enough changes to keep this familiar story moving in unexpected directions. Gothic, romantic, bloody and occasionally wild - another Dracula, yes, but one I enjoyed sinking my teeth into. Not definitive, but arguably one of the go-to versions.

A. M. Esmonde’s Halloween Watch List 2026

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 26 Sep 2026 17:30:00 +0000

As the shadows grow longer and the nights grow darker, it’s that time of year again when we gather ’round our screens for a daily dose of fright. I’m going a little more mainstream for 2026, and this year’s lineup promises to send shivers down your spine, with a mix of classic bone-chilling releases. Whether you’re a veteran of the macabre or just dipping your toes into the eerie waters of horror, there’s something here to make your October unforgettable.

So, grab your popcorn, turn down the lights, and join me on this blood-curdling journey.

Halloween 2026 watch List:

1. Puppet Master (1989)

2. Friday the 13th: The Final Chapter (1984)

3. Dracula (1931) Spanish Version

4. Bram Stoker’s Dracula (1992)

5. Mary Shelley's Frankenstein (1994)

6. Vampires (1998)

7. Trick or Treat (1986)

8. The Lost Boys (1987)

9. Ghostbusters (1984) 10. Sleepy Hollow (1999)

11. Fright Night (1985)

12. Blood From the Mummy’s Tomb (1971)

13. Dead and Buried (1981)

14. The Howling (1981)

15. Cemetery Man (1994)

16. Killer Klowns from Outer Space (1988)

17. Event Horizon (1997)

18. The Ninth Gate (1999)

19. House(1985)

20. Dawn of the Dead (1978)

21. The Evil Dead (1981)

22. A Nightmare on Elm Street 4: The Dream Master (1988)

23. The Prophecy (1995)

24. Maniac Cop 2 (1990)

25. The Dark Crystal (1982)

26. The Garbage Pail Kids Movie (1987)

27. Hellraiser III: Hell on Earth (1992)

28. Monster Squad (1987)

29. Carnival of Souls (1962)

30. The Haunting (1963)

31. Halloween IV (1988)

Need more? If you need a few extra for the weekends, or those longer nights... Bonus films:

Zombi 2 (Zombie, Zombie Flesh Eaters) (1979)

Dawn of the Dead (2004)

Day of the Dead (1985)

The Shining (1980)

An American Werewolf in London (1981)

Trick 'r Treat (2007)

Abigail (2024)

Halloween 6 (1995)

Friday the 13th Part VI: Jason Lives (1986)

Night of the Living Dead (1990)

Dracula (2025)

Resident Evil (2026) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Mon, 21 Sep 2026 18:00:00 +0000

A medical courier transporting an organ wants to get home to his girlfriend, but reluctantly takes one more job and finds himself facing monsters in the middle of Raccoon City.

Director Zach Cregger delivers a non-stop ride, creating a dark, foreboding atmosphere while keeping the action moving. The journey through hospitals, the snowy wilderness and city streets has a late-night, "just get home and get out of this situation" hopelessness to it, reminiscent of Silent Hill, After Hours, Night of the Living Dead, 30 Days of Night, Judgement Night and Enemy Territory. The ending, however, after everything we've been through, is ironically irritating and stops it from being almost perfect.

Cregger and co-writer Shay Hatten deliver some great one-liners, reminiscent of the quip humour of Cold Storage (2026), while the excellent cinematography by Dariusz Wolski and the framing give the film a surprisingly big, cinematic feel. From farms to city sewers, and high-rise buildings, Wolski's eye, along with Cregger's staging is impressive. Hays Holladay and Ryan Holladay's music is fitting, adding to the tension without overpowering it.

Austin Abrams is excellent as Bryan, a likeable, ordinary guy who finds himself completely out of his depth. As he picks up different weapons throughout, you genuinely find yourself rooting for him as he encounters offbeat people, infected creatures and children. With limited screen time, Kali Reis is memorable as Maxine, while Paul Walter Hauser is notable as quirky Carl. Zach Cherry, Johnno Wilson and Will Merrick round out the supporting cast.

The special effects are particularly impressive, with plenty of gore and grotesque creatures that give the film the nasty edge you'd expect from Resident Evil. There are also some great POV shots that should appeal to fans of the games, capturing that feeling of moving through an environment where you never quite know what's waiting around the next corner.

It doesn't really feature the familiar characters from the games, but that's part of what makes this feel like a fresh take. Fans of the Milla Jovovich Resident Evil series of films may particularly enjoy the nighttime setting, which echoes Resident Evil: Apocalypse. It's reminiscent of Resident Evil: Welcome to Raccoon City in places, only on a much larger budget.

Overall, Cregger's Resident was almost a perfect action horror film. It has the atmosphere, gore, humour, monsters and relentless late-night nightmare journey - until those last few scenes, maybe a cliche ending would have been more satisfying.

Friday the 13th Part VI: Jason Lives (1986) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Mon, 21 Sep 2026 17:30:00 +0000

Tommy Jarvis returns to Crystal Lake years after his encounter with Jason, determined to finally destroy the killer’s corpse. Unfortunately, a lightning strike brings Jason Voorhees back from the dead, and the killing starts all over again.

Tom McLoughlin’s Friday the 13th Part VI: Jason Lives is the series’ much-needed correction course. McLoughlin both writes and directs, bringing a fun horror atmosphere, a knowing sense of humour and enough self-awareness to breathe new life into a franchise that was beginning to run out of steam.

Thom Mathews, fresh from The Return of the Living Dead, is excellent as Tommy. Megan Garris, David Kagen, Renée Jones, Kerry Noonan, Tony Goldwyn and Tom Fridley all add to an enjoyable ensemble.

It’s also a shame they didn’t reuse Corey Feldman’s nightmare sequence from A New Beginning, as it would have provided a nice link to Tommy’s past. Instead, Mathews takes over the role played by John Shepherd, and makes it his own.

C.J. Graham’s impressive Jason is another major highlight. He establishes the hulking, almost unstoppable version of Voorhees that Kane Hodder would later step into and define. In resurrecting Jason, McLoughlin makes him an explicitly supernatural force for the first time. It distances itself from Halloween’s Michael Myers mortal archetype. This undead, more powerful version would become the standard depiction of Jason for the rest of the series.

The film even has fun with the conventions of the genre, prefiguring the self-aware horror humour that Kevin Williamson would later bring to the Scream films. The James Bond-style title walk-on is a brilliant touch, immediately announcing that this isn’t going to take itself too seriously. Yet, it has tension filled scenes, including a few with children at a camp which hadn’t been done before.

The atmosphere is excellent, the practical effects still work, the kills are inventive and Jon Kranhouse’s cinematography gives Crystal Lake a great look. Harry Manfredini’s score remains essential to the Friday the 13th sound, while Alice Cooper’s “He’s Back (The Man Behind the Mask)” gives the film an unmistakable ’80s horror identity.

Most importantly, Jason Lives is fun. It understands exactly what audiences want from Jason while giving the series enough personality to stand apart from what came before.

Overall, while light years away from the tone of the original, McLoughlin gets Friday the 13th back on track, gory, atmospheric and unapologetically entertaining. Jason is back, and this time he really is supernatural.

Friday the 13th Part VIII: Jason Takes Manhattan (1989) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Mon, 21 Sep 2026 17:00:00 +0000

Jason Voorhees stalks a group of high school graduates on a ship en route to New York City.

Friday the 13th Part VIII: Jason Takes Manhattan stinks to high heaven of 1989 and that is not a bad thing. The American slasher film directed by Rob Hedden is the eighth instalment in the Friday the 13th film series and captures a time that was grittier, grimier and less polished with gore, rock music, big hair and make-up. That's not to say its' the best in series, its far from it. Hedden unnecessarily slips in more visions and dream sequences with Jensen Daggett's aqua-phobic Rennie Wickham character to keep up with the Nightmare on Elm St series. It's akin to part 7's New Blood shenanigans. Yes there are chronically time setting issues and plenty of inconsistencies but its own failing logic only adds to its wacky charm.

Fred Mollin's amps up the score and puts a twist on Harry Manfredini's theme stings. There's also some great stunt work. Veteran actor Peter Mark Richman features and out shines the other actors as Charles McCulloch. Aside from Richman few leave a big impact. Kane Hodder is excellent as the gooier, rotting Jason Voorhees and makes this effort so watchable, there's plenty of effects and fun to be had in Hodder's portrayal. Director Rob Hedden offers some imaginative direction and visuals, it feels bigger than it should moving from Crystal Lake but doesn't deliver on its New York setting with much of the action taking place on cruise ship with (mis- sold) Maniac Cop-like Manhattan featuring at the end. Jason Takes Manhattan at times is choppy and Hedden's change in setting offers some novelty freshness.

Jason kills using a harpoon gun, a guitar, slams a hot sauna rock into someone, decapitates someone else to name a few but the flow is nowhere as tight as The Final Chapter or Jason Lives. Of course there's some obligatory T & A, courteous of Sharlene Martin's Tamara and notably from Tiffany Paulsen as Suzi. Hodder saves this innings and as well as his little nuances as the masked killer we see Jason memorably in Times Square.

Overall, it's totally mindless with some nice make-up effects but it's the epitome of a cash-in horror sequel.

The Fog (2005) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Mon, 14 Sep 2026 17:30:00 +0000

A coastal town's residents find themselves trapped and fighting for their lives as a mysterious fog rolls in, forcing them to confront the dark history of how their community was founded.

Rupert Wainwright's atmospheric film follows the broad beats and plot of Carpenter's 1980 version, with some tweaks, while Cooper Layne's screenplay offers an additional twist. Expectations should be kept in check, as John Carpenter is simply attached as producer, and Debra Hill, who co-wrote and produced the original, passed away in March 2005 before the film's October release.

Tom Welling, hot off Smallville, largely goes through the motions. Maggie Grace and the excellent Selma Blair, who leaves a lasting impression, do their best with the material they are given. The cast as a whole comes across a little too glossy and clean, echoing the polished teen-horror style of Scream and its mid-2000s imitators rather than the grittier tone of the original.

Its strongest assets are Nathan Hope's cinematography, atmospheric coastal locations and sound design; the soundtrack and Graeme Revell's score stand out as genuine highlights.

Practical elements such as the boat, props and the actors working inside the fog itself can look impressive and occasionally spooky. There is, however, a heavy reliance on unnecessary CGI that undercuts the tension. Memorable moments include a zombie arm in a sink sequence and a car submerged in water, accompanied by a creepy female spook, yet the film repeatedly cuts away and tones down the horror. Shattering glass features heavily throughout. The last act, which includes an array of the dead, is impressive.

As remake go this is nowhere near the heights of the likes of Dawn of the Dead or Night of the Living Dead, or have the edge of Carpenters' Assault on Precinct 13 or Halloween remakes. Had the original 1980 film never existed, the picture might have registered as a mildly effective, even if forgettable horror entry.

Those unfamiliar with Carpenter's version may find it more enjoyable on its own terms, though it remains a diluted and largely unremarkable remake.

Darkman (1990) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Wed, 09 Sep 2026 17:30:00 +0000

A brilliant scientist left for dead returns to exact revenge on the people who burned him alive.

Sam Raimi delivers a pacey, stylish revenge ride, with his trademark kinetic camerawork, Dutch angles and visual flair on full display. Bill Pope's cinematography complements Raimi's restless direction, while Danny Elfman's rousing score - following his work on Batman the previous year - heightens the chaos, Peyton's breakdowns, action set-pieces and quieter emotional moments.

Liam Neeson gives an underrated and often overlooked performance as Peyton Westlake/Darkman, balancing the character's rage, vulnerability and fractured humanity. The film shares clear DNA with, and affectionately nods towards, classic Universal horror, particularly The Mummy (1932), The Invisible Man (1933), The Hunchback of Notre Dame (1939) and The Phantom of the Opera, as well as The Elephant Man (1980).

The practical make-up, gore and effects remain remarkably effective, although some of the optical work in the third-act helicopter sequence pulls you out of the moment and slightly undermines the impressive stunt work. Despite being called Darkman, much of the film takes place in daylight, robbing it of some of the nocturnal atmosphere associated with Batman and later comic-book films such as The Crow and The Shadow. Its visual energy nevertheless feels like a clear precursor to Raimi's Spider-Man.

Frances McDormand is somewhat under-used as Julie Hastings, occasionally reduced to the damsel in distress, although she and Neeson have chemistry. Larry Drake is excellent as the deceptively mild-mannered yet quietly lethal Robert G. Durant, while Colin Friels steals the third act as developer Louis Strack Jr. Nelson Mashita, Jessie Lawrence Ferguson and Ted Raimi add memorable support. Bruce Campbell also cameo.

Overall, this effects-driven, action-packed film moves briskly, even if it could have used more dramatic meat and breathing space. Raimi's direction, Elfman's superb score and Neeson's committed performance make Darkman an entertaining and distinctive slice of early-1990s comic-book horror.Raimi'S brisk, effects-driven, action-packed film.

Waxwork II: Lost in Time (1992) Review

breathingdeadtales@gmail.com (A. M. Esmonde) — Sat, 05 Sep 2026 13:56:38 +0000

After a severed hand from the destroyed wax museum frames Sarah for murder, Mark and Sarah leap through parallel dimensions of classic horror and fantasy stories to gather proof of her innocence.

Writer-director Anthony Hickox offers another imaginative outing, opening with a recap of the predecessor's fiery climax before an Addams Family Thing-like hand escapes the ruins and sets the chaos in motion. Gremlins' quirky lead Zach Galligan returns as Mark, but stunning Monika Schnarre's takeover of the Sarah role proves a jarring recast that takes time to settle.

The supporting cast is an endless parade of famous and familiar faces: Martin Kemp as Baron Von Frankenstein, Bruce Campbell as John Loftmore, Power Station's Michael Des Barres, Young Sherlock Holmes' Sophie Ward, Star Trek: TNG's Marina Sirtis, a young Drew Barrymore, John Ireland as King Arthur, Patrick Macnee returning as Sir Wilfred, Die Hard's Alexander Godunov, character actor legend George "Buck" Flower, and David Carradine.

Rather than simply revisiting classic monsters, Hickox abandons the wax museum for a dimension where fictional stories have become realities-Frankenstein, The Haunting, Alien, Godzilla, Nosferatu, Dawn of the Dead and more. Much like the original exhibits, Mark and Sarah are pulled into each new world and take on the personas of its characters.

As well as the time-door/portal device - the artefact that allows Mark and Sarah to travel through time - the film features a series of pop-culture objects and artefacts. These include Jason Voorhees' hockey mask from Friday the 13th, the Ark of the Covenant crate from Raiders of the Lost Ark, a Norman Bates-style wig and a knife resembling Norman Bates' murder weapon from Psycho, the key to Cabin 1 (a direct Bates Motel reference), and silver bullets (a werewolf nod that also humorously alludes to McKnee's role in The Howling and callback to the first Waxwork film).

The film then moves beyond isolated objects into full sequences and visual/audio references drawn from Psycho, Frankenstein, Nosferatu, Dr Jekyll and Mr Hyde, House of Wax, Jack the Ripper lore, Godzilla, Invasion of the Body Snatchers, Die Hard, The Haunting, The Legend of Hell House, Dawn of the Dead, Alien and Aliens, 2001: A Space Odyssey, Evil Dead II, The Shining, Monty Python and the Holy Grail, and Alice Through the Looking-Glass.

Gerry Lively returns behind the camera and improves the atmosphere throughout. Even though part two went straight to VHS, it looks more filmic than the theatrical-run original. Steve Schiff's music is solid at times yet doesn't always seem to fit. The film again benefits from some practical effects and, even though released in 1992, manages to retain a strong 1980s vibe.

While enjoyable, Hickox's Hellraiser III: Hell on Earth turned out much better. Faulty and flawed in places, but still good nostalgic fun for fans of the first.