FRIGHTENING FLIX BY KBATZ: An Alfred Hitchcock Primer


An Alfred Hitchcock Primer

by Kristin Battestella

Fans of old school thrillers young or old can earn their suspense credentials with these early Alfred Hitchcock nail biters.

The Lady Vanishes Only one lovely train passenger has seen the titular dame, causing rail car mayhem for Margaret Lockwood (The Wicked Lady) and Michael Redgrave (Mourning Becomes Electra) in this 1938 mystery. Travel delays and assorted languages invoke the tourist hustle and bustle as our ensemble is humorously introduced – from the governess rambling about her past charges and country songs or dances to cranky Englishmen commandeering the phone just to ask the line from London for the cricket scores. All the rooms are let out in this hectic hotel save for the maid’s quarters, and she comes with the room, wink! The bellhop is trying not to look at the scandalous bare legs as our bachelorette orders caviar and champagne, but the men in bed together is gay in both senses of the word with jolly good innuendo. This quirky inn comforts the audience yet there are whispers of pretty American girls and the almighty dollar getting preferential treatment, newspaper sensationalism, and intensifying continental troubles. A hit on the head at the train station leads to a kaleidoscope of confusion, unfamiliar faces, magic tricks, and slight of hand illusion. Everyone’s interconnected – incognito affairs, musicians, a famous doctor, magicians, and foreign diplomats. Some genuinely don’t recall seeing the woman in question, but others have an ulterior motive for not wanting the train delayed, willful gaslighting compounded by lies, lawyers watching their own back, and that unreliable bump on the head. Tea in the dining car alone, suspicious wine glasses – complaints about non-English speakers, nationalism, political secrets, and conspiracies. Who’s really on who’s side? Train whistle harbingers pepper the constant hum of travel, matching the rail montages, impressive rear projection, and black and white photography. Despite the confined setting, the pace remains fittingly on the move with perilous comings and goings between cars. There are stoles and divine hats, too, but that giant monogram scarf looks more like a napkin stuck in her collar! Humorous bunging in the cargo with magician’s rabbits, trick boxes, false bottoms, and contortionists is good on its own, however, perhaps such fun should have happened earlier before the serious mystery escalates. There are some contrived leaps as well – it’s amazing how all the Englishmen can shoot to kill and do it so easily – and though not naming the enemy country is understandable thanks to political relevance then and now, the obligatory bad guys are just nondescript. Likewise, one can see why the sardonic comedy teams and shootouts were included, and Flightplan really steals from this right down to the writing on the foggy window. Fortunately, the ticking clock race to the border, wrong track turns, gunfire standoffs, and international chases roll on right up to the end. But seriously, what it is with Hitchcock and trains already?



Lifeboat – Journalist Tallulah Bankhead is stranded on the high seas with torpedoes, sunken ships, u-boats, and Nazis in this 1944 self-contained thriller nominated for Best Director, Story by John Steinbeck, and Black and White Cinematography. There’s no need to waste time on spectacle with the in media res sinking – flotsam and jetsam with everything from English playing cards to dead Germans heralds the nationalism and wartime grays to come amid damp passengers, dirty sailors, famous dames, mothers, babies, and injuries. Tallulah’s in furs, smoking a cigarette, and dictating what junk to bridge aboard, and despite the tiny boat space, multiple conversations happen fore and aft thanks to strategic intercutting between the immediate wounded and more self-absorbed survivors. Fog and windswept water sprays accent the superb rear projection, and the strategic filming captures everyone from all angles with foreground zooms and background silhouettes. Natural ocean sounds and the rocking of the ship, however, might make sensitive viewers seasick. There are numerous colloquialisms as well as accents and translations, but conversation is all we have – a stage-like talkative jam packed with insinuating layers, interrogations, and double meanings. Can you make your own law in open waters and toss the Nazi overboard? Everyone feels the need to establish who’s American, Christian, or had relatives in Czechoslovakia and France, and the black cook is surprised he’s included in all the decisions. It’s unfortunately expected that Canada Lee’s (Cry the Beloved Country) Joe is the least developed character, yet he’s also the most genuine person starboard. This is also a more diverse ensemble than often seen in today’s movies, and three women talk to each other about shell shock and lacking supplies but nobody knows the right prayers for a burial at sea. Cold, wet, sleepless individual vignettes allow the refreshingly flawed stranded to come clean, and at the time having a Nazi officer as a realistic character rather than an evil archetype was understandably controversial. Testy questions on who’s skipper, united sympathies, and diplomatic delegating drop the formalities, as after all “we’re all in the same boat.” However, information is not always forthcoming and no one knows the course to Bermuda – except Herr Kapitan. Can you trust his seamanship? A compass, typewriter, watches, diamond bracelets, brandy, and newspapers with Sir Alfred in the classifieds add tangibles and some humor alongside baseball talk, debate on the superior rowing capabilities of the Master Race, and other unexpected camaraderie, for “dying together is more personal than living together.” Repeated “Some of my best friends are…” quips also address differences as rambling on past regrets becomes veiled talk about shocking revelations and amputations. Lost material possessions give way to symbolic shoes, bare feet, shirtless men, and tattoos, but there’s time for intense poker, lipstick, and flirtation. Bermuda is the macguffin, and storms, hunger, delirium, suspicion, and men overboard get in the way of getting there. Rather than just special effects cool, wet and wild action heightens the internal boat suspense as beards grow and tables turn. They’re surrounded by undrinkable water, rain is precious, fishing bait is nonexistent, and sudden twists happen with nothing but a splash. Violent mutinies and shellfire are surprising to see in a forties movie, but Bankhead is a stunning, strong, sexy older woman able to be kissing or angry in the same scene – a multifaceted female role few and far between these days. Once stripped bare by the consequences of welcoming your enemy, do you accept your fate, continue to row, or laugh at the irony? Perhaps this warning against fatally lumping all together and the guilty lessons learned in such a no win situation can only be appreciated in retrospect, as this tale tries to see everything from both sides, remaining gripping from beginning to end with nothing but eight people in a boat in the middle of the ocean intensity. It makes one wonder why nowadays everything is so gosh darn bombastic.


SabotageBuzzing light bulbs go dark in this 1936 caper based on The Secret Agent by Joseph Conrad – not to be confused with Hitchcock’s previous Secret Agent or later Saboteur. Whew! Crowds are both confused and giggling in this blackout, singing or arguing by candlelit and wanting their money back from the down picture show. Flashlights, the silhouetted skyline, shadow schemes, and askew camera angles add to the power tampering suspicion, and suspenseful notes follow our mysterious man in black as he returns home, washes his hands, and claims innocence – despite his neighbor’s claims to the contrary. He talks of money coming soon yet doesn’t want to draw attention to his cinema business, but the professional, public, and domestic are intertwined with families living above the bustling marketplace. Fine dresses, fedoras, and vintage cars add to the quaint, however no one is who they seem thanks to grocers with an angle, Scotland Yard whispering of trouble abroad, and shadowed men with their backs to the camera conversing over promised payments. The innocuous movies, aquarium, and pet shop host seemingly innocent ingredients used for making bombs, and onscreen days of the week lie in wait while the public is occupied by the picture show, hoodwinked by what’s in plain sight. Creepy packages, trick bird cages, and threatening “sleeping with the fishes” coded messages become a tongue in cheek nod to the nature of cinema and hidden observations as covers are blown and men scatter. Our wife is clueless abut her husband and oblivious to her family being used for information, creating an interesting dynamic for her between the handsome detective and a damn cold, cruel husband. Who are behind these plans and why? Despite several great sequences, convenient plot points leave too many unanswered questions. The busy start is rough around the edges, meandering for half the movie before becoming eerily provocative as a child delivers a fatal ticking package in the middle of the crowded market. We know the route and the time – delaying for street sales, demonstration detours, and interfering parades ups the suspense alongside traffic jams, stoplights, and montages featuring clock tower gears, dangerous flammable film, our innocuous brown papered package, and the puppy on the bus next to it! A clock on every street corner checks each five minutes passing amid town criers, newsboys, crescendos, and clues in the film canister that go for the big shocker while silent visuals bring the threats home to the dinner table. Although I don’t think today we’d have a cartoon singing “Who killed Cock Robin?” but that might just be me.


The 39 Steps – Like Maugham’s Ashenden stories, I wish there were more adaptations of the other Hannay books by John Buchan, not just numerous remakes stemming from this unfaithful but no less landmark 1935 picture with Robert Donat (Goodbye, Mr. Chips) joining our original icy blonde Carroll and all the Hitchcockian one can muster including the mistaken man, foreign intrigue, macguffin secrets, and budding romance. Cheeky dance halls host marriage jokes, brawls, chases, and gunshots with shadowed men in trench coats, pipes, and fedoras. Double decker buses, netted pillbox hats, stoles, and more period touches such as newspapers, lanterns, and milkmen contrast mysterious maps of Scotland, missing fingers, knives in the back, and a gal whose name depends on where she is and which country is the highest bidder. The mercenary espionage, air defense hush hush, and ticking clock is upfront in telling us what we need to know whilst also revealing a whole lot of eponymous nothing. Danger tops each scene thanks to suspicious phone booths, perilous bridges, and jealous husbands spotting those knowing glances across the dinner table during Grace. Police at the door and women both helpful or harmful compromise potentially rural calm – news travels fast and a spy must always be on the lookout. Whom do you trust when no one is who they seem? Lucky hymnal twists and false arrest turns escalate from one location to the next with ironic parades, impromptu speeches, cheering crowds, and charismatic escapes despite handcuffs, sheep, and romantic comedy tropes. Filming through doors, windows, and Art Deco lines accent the men in disguise, overheard rendezvous, and small hiking silhouettes against the pretty mountain peaks. Trains, airplanes, and rapid waters add speed to the pursuit. The superb cabin car photography and railroad scenery don’t need the in your face action awesome of today, for chitchatting folks reading the daily news is tense enough for the man who’s picture is beside the headlines. While some may find the look here rough around the edges or the plot points clichéd, many of our cinematic caper staples originate here. The full circle music, memories, and shootouts wink at the facade of it all, remaining impressive film making for the early sound era with great spy fun and adventure.


Movie Review: The Shape of Water

Guillermo del Toro has created a film masterpiece. And, with a stunning thirteen Academy Award nominations for The Shape of Water, I am not the only one who thinks so.

Set during the height of the Cold War, The Shape of Water follows Elisa Esposito (Sally Hawkins), a mute woman who works as a cleaner at a top-secret government facility. Elisa lives a quiet life of routine and resignation. When abrasive military man, Richard Strickland (Michael Shannon), arrives at the facility with an aquatic monster from South America, Elisa is captivated by the surprising humanity she witnesses in the creature. She develops a kinship with the amphibian man, who is limited in communication much as she is. When Cold War agendas threaten the creature, Elisa risks everything to save him. Set against a backdrop of ego, intrigue, and romance, The Shape of Water is far more than the typical monster movie.

It’s difficult to characterize The Shape of Water as any one genre—whether spy thriller or romantic drama—but, in many ways, that is the film’s strength. The plot is gripping, driving from one scene to the next, always with a new question in the viewer’s mind. There are no groundbreaking twists or sharp reveals. Things move forward as expected, but at every turn the viewer is left wondering what exactly will come next. At no point do we feel as if any character is safe from the events on the screen. Unexpectedly funny moments set scenes of horror in sharp relief. It all builds to a gripping conclusion that is every bit as harrowing as it is satisfying.

The film features a diverse set of characters, not just in demographics, but in personality, motivation, and abilities. They were all equally memorable, but most importantly, they were believable. What set the characters at odds were their different motivations and values. There were no contrived conflicts. At every crossroad, each character made the decision that was appropriate for them.

Elisa Esposito was a powerful force throughout the film. Elisa is no shrinking violet. Despite the disadvantages of being a single woman in the 1960’s and being unable to speak, she doesn’t back down from what she knows is right. I’m always enamored with characters who have limitations of speech, especially in horror movies. The role of a Scream Queen filled by a woman who literally cannot scream is such a self-aware implementation of the genre that it deserves praise all on its own. The ability to convey emotion without words is an incredible skill and Sally Hawkins delivers, conveying with longing looks more emotion than I felt in all of the Notebook.

As the main villain, Richard Strickland is deliciously easy to hate. A cruel and vain man, Strickland has an inflated sense of his own importance and capability. Portrayed as the ideal 1960’s husband—with the good job, suburban house, beautiful wife, and loving children—his deviance lurks deeper. He treats everyone as beneath him. At the same time, Strickland is a remarkably ordinary villain, the sort of man that everyone will recognize. Even without the backdrop of the supernatural, Strickland would be a terrifying presence. Through the film, it becomes increasingly clear that he will do whatever he wants to fulfil his own sense of overinflated importance, regardless of consequences to others. His predatory attitude toward Elisa is particularly unsettling. Watching his spiral into madness and obsession is both terrifying and satisfying.

Despite being central to The Shape of Water, the character of the Amphibian Man is surprisingly flat. What is there to say about someone that is majorly made up of a costume and CGI? He’s visually entrancing and has a few poignant moments, but his main role is to showcase the way other characters interact with him rather than to give much growth or power in his own right. As for whether you find him attractive, that’s a personal matter and between you and your own sexuality.

The Cold War setting of the movie was indispensable to the plot. The motivation to keep knowledge out of enemy hands, if they weren’t able to obtain it themselves, drives the characters to dark depths, making them willing to pay any price for their country, even if that price is their human soul. I can’t imagine any attempt to make this movie in a modern setting. The film needed the backdrop of the era’s black and white morality to properly set the stage for the movie’s central theme.

After all, what makes a monster is not circumstance or affiliation, but underlying motivations and character. Humanity extends to more than just humans. What is it that makes someone worthy of respect? Worthy of life? The Cold War, during which even other human beings were seen as lesser animals due to their political affiliations, creates a perfect environment in which to address the question of “what makes something human?”

While I would not consider The Shape of Water a horror movie in its own right—certainly not a ‘scary movie’—I think that there are elements that every horror addict will enjoy. It’s a love letter to old horror movies, taking tropes from the height of campiness and drawing them out in ways that only modern filmmaking can. It is a visual delight to watch and a gripping story to follow with plenty of nods to classic horror films. Especially in a world where it feels as if anything and everything has been remade, The Shape of Water stands apart as the only one to take an old concept and do it justice.

Movie Review: CHIMERA

CHIMERA: Not quite horror, but still quite good

Fifty years in the future, the brilliant but disturbed scientist Peter Quint (Henry Ian Cusick) works desperately to save his children from a gruesome and painful death. Miles (Raviv Haeems) and Flora (Kaavya Jayaram) are dying of the same degenerative cellular disease that claimed Quint’s wife, Jessie (Karishma Ahluwalia). The cure to their illness lies in the DNA of turritopsis, the immortal jellyfish. Quint secludes himself with his family and research in a remote manufacturing facility, but without access to fetal stem cells, his progress stalls. He resorts to making a deal with his sinister former boss who has her own selfish designs for Quint’s research. Under pressure and running out of time, Quint continually crosses new ethical lines in his pursuit of a cure.

CHIMERA wastes no time on introductions, instead dropping us right into Quint’s world. The scenes follow a non-linear timeline that mirrors Quint’s unravelling psyche. The effect is to leave us wondering when events happened—if they happened at all. Yet the film never loses its sense of urgency. The entire runtime is a race against the clock as Quint faces the unforgiving deadline of death—though, in this case, not his own. Because Quint’s motivations aren’t selfish, it’s difficult to root against him, even as the nature of his research becomes ghastly. As the story winds deeper into an ethical mire, we come to question some of our own moral standing in hoping for Quint’s success.

The horror of the film rests in the intimate portrayal of the characters as flawed and complex human beings with motivations that are as simple as their resulting actions are complex.

Henry Ian Cusack carries the movie with his excellent portrayal of Quint’s fragile mind. Quint is a cold, calculating scientist in almost every regard except when faced with an immediate moral travesty. These moments where we see through the cracks of his personality give us a glimpse into the terror that Quint faces at his own actions.

Quint is both encouraged and opposed by his former employer, Masterson (Kathleen Quinlan), who wants his research for her own selfish gains. She serves as the major opposing force to Quint, providing him with what he needs but always after significant struggle and always at a high cost. It is her actions that drive Quint the furthest in his pursuit of a cure. She serves as a powerful mirror to Quint’s own obsession, wanting his research for reasons that seem altruistic on the surface, but don’t stand up to ethical scrutiny.

Quint’s family serves as his moral compass, even if he doesn’t listen to them. They appeal to the loving side of him, rather than the scientist and fear for what will happen to his soul in the midst of his work. His wife, Jessie, serves as a strange voice of reason, considering that she is comatose for the entirety of the film.

Charlie (Jenna Harrison), Quint’s former coworker and sometimes lover, pulls him in the opposite direction. She believes and supports his genius, though his deteriorating sanity concerns her. She sees the good that can come of Quint’s work beyond the scope of his immediate family and, ultimately, the profit and fame that could also result. Charlie begins as a flat and uninteresting romantic subplot, but transforms throughout the movie into a complex character with staggering implications for the events of the film that lead to the hair-raising ending.

When speaking of the film, it is necessary to also mention the setting, which is so instrumental that it acts almost as an additional character. An abandoned industrial complex serves as the backdrop for the events of the film. Beyond providing a dangerous maze of tunnels and dark corners behind which secrets and danger lie, the setting diverges sharply with typical science fiction expectations, though it feels familiar for those who watch horror. Science fiction often gravitates toward stainless steel, glass, and sterile facilities. In contrast, the dingy metal, disused equipment, and abandoned hallways of CHIMERA seem like a modern Frankenstein’s laboratory—a madman’s workspace where the line between life and death is manipulated rather than revered. It leaves us with the impression that surely no wholesome science could arise from such origins.

The true horror in CHIMERA is not in anything that happens on screen (though there is plenty to hold you to your seat), but in the implication that this story won’t stay purely fiction for long. When creating the film, writer/director Maurice Haeems tirelessly researched gene therapy and where the field is likely to go in the future. As a result, the scientific premise of the movie is chillingly real. It adds a dimension to the story that would otherwise place this firmly in the hard-science fiction category, the lingering understanding throughout that this story is right around the corner from today. It portrays humanity as incapable of weighing the moral implications of science, dooming us to a spiral of frightening ethics in pursuit of some possibly unobtainable utopian future. CHIMERA asks: if the goal is to save all of mankind, is any price too high? And how do we cope with the atrocities committed in pursuit of it?

If you are looking for violence, gore, or jump scares, this movie is not for you. It focuses instead on a more cerebral sort of horror. The suspense stems from complex characterization and deep insight into the human nature to love even if it makes us monsters. This is not a teen fright flick, but perhaps it can be viewed as a science fiction success.


I Married a Witch a Trickster Delight

By Kristin Battestella


While many adore the subsequent Bell Book and Candle or Bewitched, have had Peek A Boo hairstyles, or even know of Veronica Lake thanks to her sexy Oscar winning look-alike Kim Basinger in L.A. Confidential; it seems not many today appreciate the 1942 magical romp that started it all, I Married a Witch.

Burned at the Salem Witch Trials thanks to the testimony of Jonathan Wooley (Frederic March), Jennifer (Veronica Lake) curses Wooley and all his male descendents to be unlucky in love. Centuries later when lightning strikes a tree and frees their spirits, Jennifer and her father Daniel (Cecil Kellaway) continue to interfere with politician Wallace Wooley (also March), his campaign for governor, and his impending marriage to socialite Estelle Masterson (Susan Hayward). Jennifer plans to make Wally fall in love with her just to ruin him. Unfortunately, when she is injured, Wally mistakenly gives her the love potion she intended for him. Now that she’s in love with a mortal, Daniel disastrously interferes on his daughter’s behalf. Jennifer, however, has bigger plans now: using witchcraft to save Wally’s campaign.


I’ll get the bit of the bad out of the way first, for only the dated production here hinders I Married a Witch. The black and white looks somewhat unrestored, dark and tough to see sometimes. The historical montage opening the film also has poor period stylings or seems quick and on the cheap. Modern audiences might also be a little lost on some of the thirties mannerisms and dialogue, and the sound is often tough to hear. While kids might enjoy this partial inspiration for the television series Bewitched, viewers with short attention spans might groan at early scenes with only smoke, fire, and old speaketh voiceovers. However, having said all that, the light-hearted comedy and hijinks of love story from director Rene Clair (The Flame of New Orleans, And Then There Were None) and writers Robert Pirosh (Combat!) and Marc Connelly (Captain Courageous) win with magical charm and innocent fun.

Well then, let’s talk about that peek a boo queen herself, Veronica Lake. Although the diminutive star of Sullivan’s Travels and This Gun for Hire doesn’t actually appear for the first fifteen minutes, we like the off-screen witch Jennifer when we hear of her fun curses. Despite her initial vengeance and maliciousness, we enjoy her vocal tricks and thus are thrilled when we finally do get so see those famous blonde tresses. Lake may seem a one trick pretty, but her witchy ways are delightful and her comedic dialogue is right on time. Though the pair seem visually at odds and she spends most of the time being carried by March; Lake has the sardonic match and onscreen weight to be a 290-year-old witch testing Wallys’ heart. Jennifer’s supposed to be bad, purely a spiteful witch causing love trouble for the sake of a long ago wrong, yet she’s whimsical and adorable all the same. Likewise, Oscar winner Frederic March (Best Years of Our Lives, Death of a Salesman, The Desperate Hours) proves he’s more than the straight, heavy, and serious dramatic leading man we so often enjoy. Wally’s wedding day hysterics are almost side splitting- caught in a repeatedly false starting ceremony and running ragged over two women! March would be the exceptional straight man indeed- if not for his perfect balance of witty, proper performance and humorous presence.


While Lake’s luster may have fallen over the decades, the budding and future Best Actress Susan Hayward (I Want to Live, Reap the Wild Wind) is wonderful as the snotty socialite set to marry Wally. Any other time, we’d love to pedestal Hayward, but in I Married a Witch, the audience can’t help but appreciate her bearing the brunt of Jennifer’s tricks. Dads Cecil Kellaway (The Postman Always Rings Twice) and Robert Warwick’s (The Private Lives of Elizabeth and Essex) J.B. Masterson are also great fun as the at odds parents who similarly enough have their daughters- and thus their own- best interests at heart. Classic fashion and style lends a wonderful visual support, too. Not to be outdone by slim cut suits or tilted fedoras, the pre-war ladies’ costumes here are glorious. The lengthy gowns and puffy sleeves just add an extra touch of class not often found in today’s recreations. I Married a Witch was contemporary at the time, but now it is a wonderful period piece to us with great music, sweet looking cars, and great old houses. Sure, some of the flying brooms and objects moving by themselves look hokey, but most of the smoke and mirror effects are simplistically good. Thanks to a fine story and great performances, fancy effects aren’t required to suspend the belief needed for I Married a Witch.

Fans of the old school cast, classic films aficionados, or families looking for some wholesome witchy fun can certainly find a short 80 minutes for I Married a Witch. Naturally, it is full of pre-war magical innocence rather than proper Wicca motifs, but again, the delight here wins against any datedness of the time.

Press Release: CHIMERA

Filmmaker Maurice Haeems

Explores Immortality

in Debut Sci-Fi Thriller Chimera

(Los Angeles, CA) – December 5th, 2017.  Praxis Media Ventures is proud to announce the completion of the science-fiction thriller Chimeracreated by first-time writer-director Maurice Haeems, produced by Jay Sitaram and Eric B. Fleischman, and starring Emmy-nominee Henry Ian Cusick (Lost), Oscar-nominee Kathleen Quinlan (Apollo 13), and LGBT-rights advocate Erika Ervin a.k.a. Amazon Eve (American Horror Story).

Chimera is the story of Dr. Quint, a brilliant but disturbed scientist who must freeze his children alive in order to arrest the progression of their deadly genetic disease, while he races against time to cure them by unlocking the secrets of immortality encoded within the DNA of the Turritopsis jellyfish.

“While our story pushes the central character down some very dark paths, we still wanted the audience to see that despite his many flaws, Quint is always driven by a utopian vision and noble intentions,” says director Maurice Haeems.

“This film asks difficult philosophical questions like ‘How far would you go to save the ones you love?’ and ‘Without your family, would you still want to live forever?’,” says producer Jay Sitaram.

Chimera’s intimate yet high-profile cast includes Henry Ian Cusick (Quint), Kathleen Quinlan (Masterson), Karishma Ahluwalia (Jessie), Jenna Harrison(Charlie), and Erika Ervin (Gruze). The children at the center of the plot were very close to the project, as Raviv Haeems (Miles) is the director’s son and Kaavya Jayaram (Flora) is the producer’s daughter.


Chimera is a Praxis Media Ventures production. Written and directed by Maurice Haeems; Producers Jay Sitaram and Eric B. Fleischman; Consulting Producers Eric M. Klein and Franco Sama; Line Producer Ken Golden; Casting Director Mark Tillman; Cinematographer David Kruta; Editors Brian Scofield and Fritz Feick; Composer Aled Roberts; Production Designer Lawrence Sampson.

Inspired by cutting-edge research in stem cells, regenerative medicine, organ harvesting and genetics, Chimera is, at its core, a tale of love and loss, regret and redemption. Chimera is slated to start its film festival tour in the Spring of 2018 and will be released later in the year.

About the Director:

Over the last two decades, Mumbai-born and Los Angeles-based Maurice Haeemshas enjoyed successful careers in mechanical/fluid engineering, investment banking, and software entrepreneurship. In 2014, Maurice decided to pursue his fourth career (and first love) – storytelling and filmmaking. He returned to school to study screenwriting and directing, and wrote his first screenplay, Chimera. He collaborated with former investors and business partners to raise the capital for the project. Chimera was shot in Fitchburg, MA and will be released in 2018.

Maurice continues to be enthralled by advancements in biotechnology, the extension of human lifespans, and the science/fiction of immortality and transhumanism. He has completed the screenplay and begun development on his second feature (The Archetype) which further explores these themes and their impact on the human experience.

For more information about Chimera, please visit the following links:





HASHTAGS: #ChimeraTheMovie


Recent Lady Horrors

By Kristin Battestella


These contemporary pictures provide a little bit of everything for our would be ladies in peril – be it camp, scares, ghosts, or morose thrills.


The Love Witch – Artist, witch, and murderess Samantha Robinson’s (Doomsday Device) romantic spells go awry in this 2016 comedy written and directed by costumer/producer/Jill of all trades Anna Biller (Viva). Rear projection drives and teal eye shadow establish the tongue in cheek aesthetics while cigarette smoke, colorful lighting schemes, purple capes, and nude rituals accent flashbacks and sardonic narrations. Magic has cured our dame Elaine’s nervous breakdown after her husband’s death, and she’s starting fresh in a quirky tarot themed apartment inside a sweet California Victorian complete with a bemusing chemistry set for making potions with used tampons. Kaleidoscopes, rainbow liners inside dark retro clothing, blurred lenses, and spinning cameras reflect the “vodka and hallucinogenic herbs” as magic bottles, local apothecaries, and pentagram rugs set off the pink hat and tea room pastiche. Our ladies are so cordial when not plotting to steal the other’s husband! Her dad was cruel, her husband had an attitude, and her magic guru is in it for the sex, but she’s spent her life doing everything to please men in a quest for her own fairy tale love. When is Elaine going to get what she wants? She’s tired of letting the childlike men think they are in control, but she puts on the fantasy each man wants nonetheless, impressing a literary professor with her libertine references as the to the camera elocution and intentionally over the top Valley acting mirrors the courting facade. Psychedelic stripteases tantalize the boys onscreen, but the actresses are not exploited, winking at the customary for male titillation while instead providing the viewer with a sinister, if witty nature and classic horror visuals. Different female roles as defined by their patriarchal connections are addressed as ugly old eager dudes tell matching blonde twins that stripping or a rapacious sex ritual will be empowering – because a woman can’t be content in herself or embrace sexuality on her own terms unless there is a man to ogle her – while our man eater must break a guy down to the emotional baby he really is for her gain. It isn’t Elaine’s fault if men can’t handle her love! A man not in love can be objective while one wanting sex will excuse anything, and the shrew wife or female black subordinate are put out to pasture for an alluring white woman – layering the women in the workplace and racial commentaries as similar looking ladies must switch roles to keep their man. Tense evidence creates somber moments amid police inquiries, toxicology reports, and occult research – so long as the casework doesn’t interfere with their lunch order, that is. Is this woman really a witch or just a bewitching killer in both senses of the word? Is it batting her eyelashes lightheartedness or is she really an abused, delusional girl masking her trauma as a blessed be? The serious topics with deceptive undercurrents and feminist statements will be preachy and heavy handed for most male audiences with uneven pacing and confusing intercuts. However the fake blood in the bathtub, renaissance faire ruses, and melodramatic humor combine for a modern Buffy trippy satire dressed as a retro gothic That Girl homage that takes more than one viewing to fully appreciate.


My Cousin Rachel – Rachel Weisz (The Constant Gardener), Holliday Grainger (The Borgias), Ian Glen (Game of Thrones), and Simon Russell Beale (The Hollow Crown) begin this 2017 Daphne du Maurier mystery with happy strolls on the beach and fun bachelor times be it lovely greenery, carriages in the snow, or reading by the fire. The epistle narration gives a hear tell on the titular marriage via secret letters recounting illness and a wife forbidding correspondence before final, unfortunate news leaves the estates to heir Sam Claflin (The Hunger Games) on his next birthday – not the unseen widow said to be so strong and passionate. She’s a suspicious enigma for the first twenty minutes before a cross cut conversation introduces the charismatic storyteller, where the audience isn’t sure who is more uncomfortable or telling the truth despite the captivation. Divine mourning gowns, black satin, and lace veils add to the half-Italian allure amid more period accessories, libraries, old fashioned farming, candles, and top hats. Between would be scandalous horseback rides, church whispers, and awkward tea times, our once vengeful youth is smitten by Rachel’s progressive charm. Interesting conversations on femininity break Victorian taboos, for childbirth is the only thing a man knows about a woman and if she has a foreign remedy she must be a witch. Is Rachel wrapping her wealthy cousin around her finger? Can she when he is forbidding her work giving Italian lessons? Rachel is dependent on his allowance, and at times they both seem to be recreating the late benefactor and husband between them – the awkward new master wearing the dead man’s clothes and she the woman he didn’t think he needed. Such romance and heirloom Christmas gifts could be healing for them both, but viewers except the other gothic shoe to drop amid holiday generosity, seasonal feasts, and group songs. Overdrafts at the bank, raised allowances, a history of previous lovers and duels – Rachel puts on her finest grieving widow pity with a child lost and an unsigned will that would leave her everything. Is she orchestrating a careful seduction or is he a foolishly infatuated puppy despite clauses about remarriage or who predeceases whom? The ominous nib etching on the parchment leads to cliffside shocks, birthday saucy, blundered engagements, drunken visions, and poisonous plants. The suspicions turn with new illnesses and financial dependence, as Rachel goes out on the town and says what she does is nobody’s business. After all, why can’t she have a life of her own if the estate is now hers? Why should her independence be defined by a man’s piece of paper? We relate to Rachel, but she can only cry wolf and fall back on her sob story so many times… While this isn’t as creepy as it could be – audiences expecting horror will find the pace slow – the drama and mood are well done amid the wrong conclusions and written revelations. Were the suspicions warranted? The finale may not be satisfactory to some, but the unanswered questions and ultimate doubt remain fitting. 


What say you, Addicts?

A Dark Song – Psalm warnings, beautiful skyscapes, and an old house with no heating paid for up front set this 2016 Irish tale amid the train station arrivals and others backing out on this specific plan with west facing rooms, twenty-two week diets, and purified participants having no alcohol or sex. More fasting, dusk to dawn timetables, serious interviews on why, and reluctant rules of the procedure build the cryptic atmosphere as the price for this dangerous ritual rises – speaking to a dead child isn’t some silly astral projection, angel psychobabble bollocks, basic Kabbalah, or easy Gnosticism you can find on the internet. The isolated manor with salt circles and invocations feels seventies cult horror throwback, however the metaphysical talk and extreme meditation bring modern realism as tense arguing, religious doubts, and questions on right or wrong match the bitterness toward the outside world. Hallucinations, sleep deprivation, and vomiting increase while physical cleansings and elemental phases require more candles and blood sacrifices. Some of the slow establishing and ritual minutia could have been trimmed in favor of more on the spooky half truths, suspect motives, need to be pure, and distorted state of mind. Black birds hitting the windows and missing mementos don’t seem to get the waiting for angels and forgiveness rituals very far for the amount of time that has passed, and heavy handed music warns us when something is going on even as more should be happening. A third character also seeking something he cannot find may have added another dynamic rather than two extremists getting nowhere, and short attention span audiences won’t wait for something to appear in those first uneven forty minutes. After all, with these symbols painted on the body and awkward sex rituals, wouldn’t one suspect this is just some kind of scam? Untold information, vengeance, backwards baptisms, near death extremes, and knife injuries meander on the consuming guilt and mystical visions before demons in disguise make for an obvious finale treading tires when the true angels, spirits, and goodness revelations were there all along. Maybe more seasoned hands were needed at the helm or a second eye to fix the pacing and genre flaws, for the quality pieces suffer amid the bleakness. This really shouldn’t be labeled as a horror movie, but it doesn’t capitalize on its potential as a psychological examination and surreal stages of grief metaphor either.


Skip It!

Shut In – Widowed Maine psychologist Naomi Watts (The Ring) is trapped in a storm while being haunted by little Jacob Tremblay (Room) in this 2016 international but already problematic PG-13 paint-by-numbers crammed with the isolated blonde, ghosts, kids horrors, weather perils, and one spooky basement. Accidents and home movies on the cell phone also laden the start before the lakeside locales, snowy blankets, and paraplegic burdens. The grief and inability to care for an invalid teen is understandable, and our step-mom considers sending him to a facility. However, the frazzled woman increasingly replacing her sick son with a younger therapy patient and the creepy temptations on holding the invalid under the bath water become hollow thanks to the obligatory it was just a dream jump cuts. Unnecessary technology and time wasting glances at watches and clocks are also intrusive – the camera focuses on dialing 911 with the finger poised over the send button and intercutting person to person like a traditional phone call flows much better than up close Skype screens. Weatherman warnings and news reports as the research montage lead to flashlights outside, icy footprints, and car alarms, but again the tension falls back on textbook raccoon scares with round and round scenes outside in the snow or inside on the phone doing little. Maybe one doesn’t think straight in the panic, but most of those frosty searches include shouting for a deaf mute boy who can’t hear you nor answer back. The psychology is also common fluff, i.e. teens have difficulty with divorce, you don’t say – Skyping Oliver Platt (Chicago Med) provides better therapy, so we know what’s going to happen to his character! Besides, all the shadows in the hallway, hidden wall panels, unexplained scratches, locked doors opening by themselves, and ghostly little hands in the bedroom yet the women still end up talking about a man. Fading in and out transitions mirror the sleeping pills and drinking, but such shifts break the world immersion before the storm even hits. When the doctor says her bloodwork indicates she’s being drugged, mom doesn’t even care – because the twist is for the audience not the main character. Lanterns, black out attacks, and video evidence right before the power failure could be good, but random people arrive despite blocked roads and the oedipal sociopath jealously provides a dumb chase finale as the stalker conveniently sing songs “Hush Little Baby” so we know where he is when he’s coming for you. Good thing that foreboding blizzard talked about the entire movie stops in time for the lakeside happy ending that apparently has no legal, medical, or parental consequences.

Attack of the Killer Donuts – Giveaway!

Those of you looking for the next cheesy Horror B-Movie are in luck. Attack of the Killer Donuts checks off all those boxes.

Over the top acting? Check.
Blonde bimbo? Check.
Crazy mad scientist? Check.
Dangerous chemical? Check.
Crappy job? Check.
Jerk boss? Check.
Gory kill scenes? Check.
Disgusting diarrhea? Check.
Sexual tension between “friends”? Check.
Hot mom teen boys lust after? Check.
Killer food that wants pay back? Check

Johnny and Kayla work at a horrible donut shop for a boss that’s famous for cutting corners. When Johnny’s mad scientist uncle creates a faulty but effective zombie gel and it accidentally falls into the donut fryer, all hell breaks loose.

With C. Thomas Howell (Most notable to us horror fans as the kid who finds a finger in his fries in 1986’s The Hitcher, and our most beloved vamp-loving cop in Kindred: The Embraced) the only recognizable star in the cast, you won’t be watching this flick for star power. What is worth watching is the killer donuts.

There are several great donut attack scenes and when they attack, you might find yourself cheering for the food instead of the humans. The donuts are truly alive and kill with sharp, monster-like pointy teeth. They seem to have militant skills, lining up for attention and ambushing victims with martial stealth. In their dormant state, they look like normal donuts, but when ingested, the humans suffer even more as they are devoured from inside. That’s when the real gross-out factor comes in.

There were some missed moments unfortunately. Sadly no giant donut rolling down the street with savage teeth, trying to kill everyone in its path, but maybe that’s a bit too obvious. I would have loved to hear a remake of the Attack of the Killer Tomatoes song but perhaps royalties were too much for this low budget flick. The dialogue missed some great moments that could have added some Horror Addict interest. I was just waiting for someone to say, “Wait a minute! That’s not just a donut. It’s a cruller!” Cue scream queen.

Despite the overabundance of cheese and some missed moments, I think Horror Addicts will still appreciate the cult classic feel of this new flick.

If you think this sounds like your kind of movie, you can enter to win by Tweeting, Facebooking, or commenting below about your favorite Horror B-movie using the tags #horroraddicts #killerdonuts @horroraddicts13

Giveaway open to residents of the U.S., deadline: December 15th, 2017



If you like Attack of the Killer Tomatoes… you’re going to love ATTACK OF THE KILLER DONUTS!

A Throwback Retro 80’s Film… Reminiscent of THE BLOB… CULT CLASSIC!

Shot in Los Angeles, ATTACK OF THE KILLER DONUTS was directed by SCOTT WHEELER, who also served as the special effects supervisor and is currently working on a film called Planet Shark. (That film covers familiar territory for Wheeler, who did all the VFX & B-roll for the SHARKNADO film series).

“Teen B-MOVIE — awesome soundtrack!”


“Entertaining and funny… a really fun watch.”

— HORRORNEWS.NET  3 out of 5 skulls

“If you’ve got love for throwback files of the ‘80’s, chances are you’ll find plenty of value in Attack of the Killer Donuts.”


“Destined to become a cruller classic.”


Rotten Tomatoes Approved Critic



Primetime EMMY Nominee for Outstanding Special Visual Effects “SPACE: Above and Beyond”. Visual Effects Producer for SHARKNADO 5: GLOBAL SWARMING releasing August 2017.  Known for Hallmark Channel TV Movie “Love at the Shore”, MARTIAN LAND, AVALANCHE SHARKS, SINK HOLE, DELTA FORCE, TV mini-series “From the Earth to the Moon”, and TV Series “Buffy the Vampire Slayer”


RAFAEL DIAZ-WAGNER (BERNIE WEISS: The Most Interesting Man in Miami)










We’ve eaten them for years, now it’s their turn! A chemical accident turns ordinary donuts into blood-thirsty killers. Now it’s up to Johnny, Michelle and Howard to save their sleepy town from… Killer Donuts.


A chemical accident in a sleepy town turns ordinary donuts into bloodthirsty monsters. Unaware of the donuts’ danger, Johnny, Michelle and Howard sell them to unsuspecting customers. When the donuts start eating their victims, the only way the three friends can save their sleepy town is to track down the Killer Donuts down and destroy them. The final standoff is where it all began: Dandy Donuts.