If this one doesn't scare you, you're already dead!
Year of Release: 1979
Also Known As: The Never Dead
Running Time: 88 minutes (1:28)
Director: Don Coscarelli
A. Michael Baldwin ... Mike
Bill Thornbury ... Jody
Reggie Bannister ... Reggie
Angus Scrimm ... The Tall Man
Kathy Lester ... Lady in Lavender
13-year-old Mike Pearson had always though that the Morningside cemetery was a little creepy, but when he witnesses a body being taken *away* from a grave by an undertaker with superhuman strength, he decides to investigate. What he encounters in Morningside's white-marbled halls include a grisly murder - by a flying metal sphere with a penchant for blood - a horde of cloaked mini-monsters who want Mike as one of their own - and the evil Tall Man.
Phantasm, remindin' us that the quickest way to a man's wrath is through his balls. On the one hand, I can really sympathize with the plight of these three poor suckers, but on the other hand, you don't just break into a man's place of business an start shootin' his balls. It's not civilized, it's not ethical, an the worst thing about it is; it's really not even all that effective, cause by the end of this one all they've really done is get The Tall Man good an P.O.'d. This whole situation's kinda like shootin' a bear with a .22, only the bear can't spin your head around like a vinyl LP, crush you down to fun size, an mail you off to Dimension X to be used as slave labor. I just feel like maybe they went about this rebellion in the wrong way, ya know? Maybe a strongly worded letter from the National Funeral Directors Association would've been more professional, is all I'm sayin'. But anyway, speakin' of guys who put a lotta effort into bringin' things back from the dead, I think FDR really woulda liked this one if he hadn't died three decades before it came out, cause this movie embodies every element of his "the only thing we have to fear, is fear itself" speech he gave after bein' elected into the midst of the economic enema we were in receivin' at the time. This movie really takes the sentiment of that speech to heart an demonstrates exactly how fear can rattle you to pieces quicker'n a 1971 Plymouth Barracuda after the weekend mechanic works on it, an how you can overcome even the most insidious of extra-dimensional alien plots as long as you keep your wits sharp an your underpants dry. Yeah, it's a real shame this movie hadn't been released back in the early 30s when that famous speech was first delivered, cause I'm pretty sure that a perfect visual representation of everything FDR was sayin' prolly woulda rallied the country to recovery a lot quicker, an thus, given us more time to get ready for dealin' with ole crankypants Hitler. An really, when you think about it, The Tall Man an Hitler were more or less cut from the same cloth. I mean, lets look at this objectively; both guys subjugated an controlled a massive army of vicious jerkoffs, both guys shipped people around in cramped quarters, both guys had a formidable air arsenal, both guys couldn't deal with the cold worth a crap, an both guys were tryin' to take over the world. It's a damn good thing these guys never joined forces, that's for sure. The whole "you knock 'em down, I'll set 'em back up again" one-two punch woulda been a pretty scary prospect. I guess what I'm tryin' to say is, why hasn't someone completed a script for "Rabid Undead Dwarves of the SS" yet? I'm only one man for cripes' sake, I can't do everything.
In any event, Phantasm has without a doubt, the greatest reverse Underground Railroad storyline of any movie in the history of the universe an I just can't say enough good things about it, nor count all the pivotal moments in my life that've been saved by knowledge acquired from this movie, so here're just a few that I've cherry picked to justify my overall rating later in the review. First, ice cream is like Epsom salts to a rabid, mutated zombie dwarf, an under no circumstances should you ever store an unconscious one in your freezer, shoppin' cart, or within' five miles of your depressed, overweight, middle aged wife who won't quit talkin' about wantin' to have another baby. Second, whether it's during their golden years in Depends, or their moldin' years in a mausoleum safe deposit box, it's never easy havin' to look in your parents' drawers. An third, there's nothin' hotter'n lookin' at your date's nose boogies durin' sex.
But the thing that really got me thinkin' while I was watchin' this one is the way everybody's pretty much out for themselves these days in our society, how we've got no consideration for each other anymore, an I've decided that the only way to get people to start givin' a damn about one another is to lead by example. Take Phantasm, for example. The Tall Man's workin' diligently towards raisin' 'imself an undead army of mindless slobber-beasts to take over the world, only he's been at it for over a hundred years already an at least durin' the first movie he's really not gettin' a whole lot closer to his goal (Just in case you're readin' this Angus, I'm not tryin' to criticize, I just think it's time for a moment of self reflection is all). Now I'm not sayin' this isn't a big job, it absolutely is, but I'm the kinda guy that always tries to be as helpful as I possibly can an so I've come up with what I feel is a pretty good plan to help expedite this project. Okay, so maybe I didn't exactly come up with it entirely on my own, but I kinda feel like it's my duty to help spread this kinda thing around to anybody that might benefit from it since these evil old white-guy horror villains coordinate about as well as their evil old white-guy political counterparts do. Anyway, you remember how in Halloween III, Colonel Cochran was sellin' all kinda rubber masks to kids so he could melt their heads like a box of Milk Duds that rolled down the heatin' vent in your dashboard? Course you do, it's a classic plot-line. Now, why is it that Cochran never shared this information with The Tall Man durin' one of their monthly Horror Villain Roundtable Discussion an Pancake Fundraiser Breakfasts? I'm sure you see where I'm goin' with this. If The Tall Man coulda hit upon this grand scheme sooner, he coulda been sellin' dozens upon dozens of these silver Christmas tree ornaments he's got flyin' around an programed 'em to go into Cuisinart mode on Christmas mornin' when all the rotten little brats come runnin' downstairs to open up their new Nintendo consoles. I mean, with that many corpses at his disposal, he coulda taken over more planets than Emperor Palpatine by now. But did anybody suggest it to 'im? No, they didn't. This is a real problem these days. Nobody communicates anymore, an nobody gives a damn about anyone but themselves. Well, I'm puttin' it all out there, right now. *I* do give a damn, an Angus, if you're readin', I hope this helps get things movin' in the right direction for ya, an if you see fit to mail me a few hot zombie sluts as your way of sayin' thanks, well, I wouldn't dream of insultin' you by refusin' to accept such a gracious reward.
The movie begins with these two creeps that've obviously never seen a single Hammer horror film playin' hide the stiffy out in the cemetery til the guy finishes up in roughly the same amount of time it takes a pit crew to change Tony Stewart's tires at the Indy 500 an the broad ends up gettin' so P.O.'d that she has to stab the guy through the fuel pump an turn into an old man so his last moments on Earth're sexually awkward. The next day, the dead guy's buddies (Jody an Reggie) are discussin' how it's kinda weird the way he decided to stab 'imself to death with his pants down in the middle of the cemetery til Jody heads into the mausoleum to get his dead parents' perspective on the situation. Course, all they wanna talk about is why he never comes to visit an when he's finally gonna make 'em grandparents, so that's a big bust. Meanwhile, this punk kid (Mike) with a hippy haircut's drivin' his Yamaha through the cemetery grounds leavin' skidmarks on headstones an generally disrespectin' the dead worse than those corporations that use dead celebrities to hock bathroom products til he starts seein' little things in cloaks sneakin' around hidin' behind headstones. If these guys're the groundskeepers, I wanna know how the heck they use the push mower when they're just shy of bein' able to stare Danny Devito straight in the belt buckle. Back inside the mausoleum, Jody starts seein' these same Jawas sneakin' around an starts to follow one to see if they've got any affordable droids for sale til this cranky ole mortician who's approximately nine feet tall comes up an scares the bejezus outta Jody an tells 'im that if he wants his bejezus back he'd better come to the chapel cause that's where Bejezus lives an besides that, the funeral's about to start. Afterwards, Jody, Reggie, an some extras haul the body outside to the burial plot an while they're gruntin' like constipated jungle animals tryin' not to drop the 2000lb Dutch Mahogany casket on each other's tootsies, Mike's goin' down a real dark voyeuristic path with a pair of binoculars from the hedge a coupla hundred yards away. Then once everybody heads out to attend the post-service life celebration ceremony an chili feed, Mike observes the undertaker haulin' the casket outta the grave before stuffin' it back in the hearse like a Kleenex into an underdeveloped Freshman's bra. So by this point, Mike's justa little bit on edge an decides to go see this old fortune teller lady who's dressed up like The Wizard of ID an tells 'er he's got sad face cause he found out Jody's gonna ditch out on 'im (they're brothers) an move out to Venice Beach where all the airhead blondes'll think his music's real profound an not entirely ungroovy.
Apparently Mike tells 'er this a lot, cause she just reiterates that if Jody ever leaves that he'll prolly take Mike with 'im so he can pretend to be helpin' out underprivileged inner-city kids to score points with the ladies. Then he tells 'er about the undertaker dead-liftin' the casket without breakin' a sweat or a vertebrae an then she goes all Tobin Bell on 'im an tells 'im she'd like to play a game an all the sudden this little guinea pig coffin appears outta nowhere an she tells 'im to make like Alice in Chains an be the Man in the Box. Only when he sticks his hand in there it latches onto 'im like a washed up miss America contestant on a promising med student til he starts freakin' out like Chris Christie when the drive-thru operator forgets his dippin' sauce while the lady keeps yellin' at 'im not to fear the intense pain he's sufferin'. Eventually, he's able to get it together an quit squealin' like Ned Beatty in Deliverance so the box'll unclench an release 'im before the crew from Sex Sent Me to the ER shows up. Later that night, Jody heads over to his regular waterin' hole an ends up leavin' with the same skankhole that left the sinkhole in his buddy's aorta. Her turn ons include; guys with the correct change, switchblades, an long fucks in the cemetery. Course, Mike's still got that cripplin' fear of abandonment issue, so he follows 'em out there an about the time Jody starts gettin' some headstone, Peter Dinklage comes outta nowhere dressed up like a Catholic Monk an chases Mike outta there like George Zimmerman in the South Bronx. So Jody has to quit flossin' with the broad's underpants for a minute an run Mike down to ask 'im why he went all schlock blocker just when the scene was gettin' interestin' an Mike tells 'im that somethin' small, brown, an low to the ground just tried to turn 'im into a pile of beans 'n weenies. Then Jody tells 'im it was prolly just Luis De Jesus visitin' Seamus O'Brien's grave an that runnin' screamin' from 'im like that is only gonna add to his clinical depression. So he gives Mike the keys to the HemiCuda an tells 'im to beat it, only when he gets back to where he left his poonerang she's up an ditched 'im an he ends up havin' to beat it too. The next mornin', Mike heads into town to loiter in the business district an about that time he spots the undertaker on the other side of the street freezin' up like a rest stop toilet in Bangor, Maine as he passes by Reggie's ice cream truck. Then Bill Moseley walks by an tells 'im there's no fuckin' ice cream in his fuckin' future. Later on that night, Mike's in the garage installin' a new lift kit on the HemiCuda when another pint sized parishioner shows up an starts electric boogalooin' all over the hood til the jack comes free an just about squishes Mike into curry paste. Then Jody comes out to the garage an Mike has to give 'im permanent hammer toe just in case one of the little bastards' disguised 'emselves in bell-bottoms an a pair of Dingo boots an Jody still thinks he's nuttier'n a Payday factory.
By this point, Mike's just about done bein' ignored worse'n an EPA regulations handbook in West Virginia an decides to sneak into the mausoleum an get some proof so Jody'll quit sizin' 'im up for a straight jacket. Only once he gets in there these gravity defyin' halibut sinkers start dive bombin' 'im like P.O.'d California Condors til he ends up gettin' grabbed by this old fogie workin' night security an only manages to escape when chunkhead forgets to keep his eye on the ball. Fortunately, in Soviet Russia, ball keeps eye on you, an pretty quick the thing unsheathes these wicked salad forks an a Craftsman drill bit an starts diggin' a Holland tunnel through his face while blood starts squirtin' out the rear end. Worst case of Colitis I've ever seen, cripes almighty, looks like Dracula's Foam Dome busted a hose or somethin'. But then the undertaker comes around the corner an chases Mike through the hallways til he slams a door right on the guy's hand an leaves 'im lookin' like Thing got squashed tryin' to latch the deadbolt an then Mike hacks off his fingers like a Yakuza 'til banana puddin' starts gushin' all over the place. Then Mike notices the fingers're all still doin' aerobic exercises an decides to take one home to use as a prop in a Skil Saw prank, cept then he gets attacked by a trio of Tim Conways an ends up gettin' one of his Nike Blazers yanked off as he's escapin' through the basement window. The next mornin', Jody wakes up to find Mike sleepin' sittin' up with a 12 gauge in his lap like Wayne LaPierre an once Mike shows 'im the severed finger squirmin' around in French's mustard he finally decides that Mike might be onto somethin' an decides they'd better go tell Sheriff Lobo before he gets cancelled. Only when Mike goes back upstairs to get his evidence, the finger's turned into this evil fly monster that looks like the Tiki doll from Trilogy of Terror. It's apparently also gotten its wings on some performance enhancin' drugs too, cause after Mike wraps it up in a shirt it keeps tryin' to escape an won't quit forcin' 'im to do all the hand motions from "YMCA" while he's tryin' to keep it under control. Eventually, Jody sees what's goin' on an helps 'im get it into the garbage disposal so they can grind it up into a fruit fly rollup an about that time Reggie shows up an we've got The Return of the Fly as it shoots outta the drain like a Hellflyer missile an Jody has to stuff it down the disposal again so it'll quit tryin' to build a nest in Mike's hair. Suffice to say, Reggie feels he's been denied critical, need to know, information. So that night, havin' finally got with the program, Jody heads out to the mausoleum 'imself to look around an see if the undertaker knows anything about the poon-tang pie he left coolin' on the bimbo sill the other night til he gets jumped by Thorin and Company an has to blast his way outta there before he can even inquire about gettin' a discount on his casket if he dies as a direct result of funerary consternations.
Then Mike comes an picks 'im up in the HemiCuda an they take off down the road lookin' for a place that's both open at midnight an sellin' mutant dwarf repellant til the Munster Koach pulls up behind 'em an Jody has to poke his head up outta the moon roof an start puttin' more rounds into it than the L.A.P.D. did to random SUVs when they were huntin' for Chris Dorner. Fortunately, Jody's a much better shot than the L.A.P.D., an knocks the steerin' column outta whack til the hearse careens off the road an gets wrapped around a tree like Sonny Bono. Then Mike an Jody back up an try to swap insurance info with the Foaming Gnome only he's pretty well lodged in the dashboard by this point an then Jody pulls back the cloak to reveal the little booger looks just like his dead buddy an... whoa, that shouldn't be. So they drive over to the nearest pay phone an get Reggie to bring his ice cream truck over an load the slobberin' goblin up in the freezer so it'll leak butterscotch topping all over the Tutti Frutti an then they all go back to Reggie's place so they can come up with a way to get a toe tag on The Tall Man (this is the first point where they start using the term "tall" to describe him). By this point, Jody's startin' to get a little concerned about the cops haulin' 'im off to the crossbar hotel on child endangerment charges, so he has Reggie drive Mike over to this antique shop to stay with these two dames who've got Village of the Damned haircuts an then he starts rootin' around lookin' for some vintage Playboys til he finds this old timey picture of Big Cranky out in front of the cemetery on a horse drawn carriage an gets this look on his face like he just cut one right in the middle of his final project for speech class an demands to be taken home. En route, they come across Reggie's jack-knifed ice cream truck an so Mike gets out to look for Reggie an make sure Kevin Nash isn't lurkin' anywhere nearby an eventually returns to the car when his search comes up emptier'n last week's episode of Finding Bigfoot. But about that time the car starts shakin' like some gang bangers're stealin' their hubcaps an pretty quick the car's got more P.O.'d short people in it than a North Korean labor camp an Mike ends up gettin' shoved out the back window like his girlfriend's husband came home early from work as the car takes off down the road. After a while, Mike wakes up in the middle of the road an heads home to try an wash the yellow center line offa the side of his face an tells Jody that the two broads an Reggie got busted out on the highway for not drivin' under the influence of The Tall Man.
Then Jody locks Mike up in solitary after fendin' off a barrage of attempted groin kicks an Tarantino-esque profanity so he can head back over to Morningside an go all Rambo on Joe Blight an the seven Dorfs. But Mike's a whole lot sharper'n that haircut would lead you to believe, an before Jody's even outta the driveway he tapes a shotgun shell to a claw hammer an blows a hole in the door so he can reach through an stage a prison break. Unfortunately, Big Cranky's goin' door to door passin' out cremation coupons an grabs Mike by the nape of the neck when he tries leavin' the house an then crams 'im in the back of his hearse like Steven Seagal tryin' to wedge 'imself back into his acid washed jeans from Above the Law so he can take 'im for a walk on the Morningside. Fortunately, Mike's packin' heat by this point, an pretty quick he Annie Oakley's the back windshield an a rear tire before Supermannin' his way to freedom as Big Cranky loses control of the hearse an plows into a power pole causin' it to explode like Bobby Knight after a bad travelin' call. Meanwhile, Jody's inside the mausoleum hangin' out at his Dad's one bedroom condo tryin' to bring 'imself to open up the coffin to see if he's still in there or not an maybe ask 'im about gettin' a reverse mortgage on the place, only he can't handle the thought of seein' Dad without his skin on an just assumes he's in there before movin' on. Mike, on the other hand, has no trouble at all an goes ape shit when he opens it up an realizes that wherever he is, Dad can now fit into his old hand-me-down shirts an about that time another grisly gear shifter knob comes flyin' around the corner an dang near latches onto Mike's head before Jody comes outta nowhere an blasts it into Twilight glitter. Then Reggie scares the bejezus out of 'em an tells 'im he's been hidin' out in Al Lewis' bed pretendin' to be an Otter Pop an they all go inside the mystery room where they find stacks an stacks of empty beer kegs fulla dwarves. Dwarves'll pretty much trap themselves if you just leave a little ale in the bottom of these things. On the other side of the room, there're these two poles stickin' up outta the floor, an while Jody'n Reggie're makin' neener neener faces at the dwarves in the barrels, Mike accidentally stumbles into the space between 'em an winds up in Dimension X from Teenage Mutant Ninja Turtles where he sees a buncha malignant midgets walkin' single file, like the Dinks in Spaceballs, into the distance. Then Jody pulls 'im out an Mike tells 'im that all the pint sized peons're bein' UPS'd back to this place to be used as slaves an that they've gotta be crushed down cause the gravity on the planet's really strong an cause if they're not short the slave owners get real self conscious. But about that time the Morningside generator goes tits up an once the lights go out we start hearin' all kinda P.O.'d snarlin' an slobberin' comin' from every direction. This seems like a good place to cut, sides, you could never get the full effect of this movie by just readin' about it anyhow.
Alright, well, Phantasm's gotta be one of the most authentic weird movies ever made. I specify "authentic" because it's so well thought out and doesn't feature a lot of weirdness that's put in the movie just for the sake of being weird, like Killer Klowns from Outer Space or something like that. Not that there's anything wrong with that, I'm just clarifying. One of the big reasons why this movie is so weird is because Don Coscarelli originally had a three hour run time on it and eventually realized that it'd just never go anywhere being that long. I think there's a rule in the screenwriters guild where if you wanna make a movie that long it's gotta have a lotta biblical figures in it or something, but anyway, Don busted out the scissors an hacked it down to an hour twenty-eight and called it good. So the movie's actually pretty choppy when you stop to think about it, but the whole thing is so surreal and insane that if you're not deliberately sitting around wasting your life by overthinkin' it, you really don't notice. Additionally, without watching the sequels, you really don't know exactly what's real and what isn't by the time the credits roll, so all the abrupt, choppy editing really doesn't matter like it would in a more straightforward linear movie. Unfortunately, most of that original footage was lost, but some of it turned up awhile back and was inserted into Phantasm IV, which is actually really spiffy and more than a little strange. Seeing flashbacks from 20 years ago I mean, but they're flashbacks of previously unseen events that can be added onto the existing mythology of the series, and that feature the original actors, at their actual ages during the original shoot. Phantasm's another one of those great, independent efforts made by enthusiastic, talented people without much experience (Coscarelli was only 25 when the movie was released) or money that somehow manages to blow away most all of the big budget Hollywood garbage from the era. These particular movies always have an aura about them that you can never duplicate by shooting on a sound stage for a major studio, and as far as I'm concerned, Phantasm stands tall with the other lowish budget, independent juggernauts of the horror genre, such as; The Evil Dead, The Texas Chainsaw Massacre, and Halloween. Phantasm is my second favorite movie of all time, behind only the original Texas Chainsaw Massacre from 1974, and moving a step beyond that, while Texas Chainsaw Massacre is superior to Phantasm, when you compare the two series; there is no competition. Phantasm, as a series, is not only far superior to the Chainsaw movies, it's simply put, the greatest series of all time.
Okay then, lets lobotomize this thing, crush it down to Ewok size, an threaten to sell it to Paula Deen unless it tells us what we wanna know. The plot is about as intricate and interesting as you'll ever see in a horror movie. Not to mention, really goddamn weird. Inter-planetary, seemingly immortal alien being comes to our world, poses as an undertaker, harvests the dead, makes flyin' balls of death outta their brains and killer lobotomized zombie dwarves outta the bodies to ship back to his home world so he can conquer it. That about cover it? It sounds like the plot to a Troma movie, if Troma ever did anything subtle or came up with anything this clever, and yet, it works perfectly as a straight-laced horror movie. It's my favorite storyline from any horror movie ever made, with good expansion and follow up via three (with the forth coming soon) sequels. The acting is decent, though nothing really special. Reggie Bannister doesn't become the beloved horror icon he is today until about the second movie, so the only really great acting performance is given by Angus Scrimm, as The Tall Man. And Angus really doesn't have all that many lines, but it doesn't hurt that The Tall Man is probably the most interesting horror villain in cinematic history. The secondary characters are where the acting goes to pot a little bit, and the simplest way to clarify who I'm talking about is to look at anybody with blonde hair besides Kathy Lester. Kathy doesn't have any dialogue, and is just fine, the other blondes though, they're a bit unpolished. Here's who matters and why: Michael Baldwin (Phantasm III - V, Brutal) Bill Thornbury (Phantasm III - V), Reggie Bannister (Phantasm II - V, Bloody Bloody Bible Camp, Doctor Spine, Primitive, Abolition, Red & Blue Marbles, Sawblade, Carnies, Satan Hates You, The Quiet Ones, Psychic Experiment, It Came from Trafalgar, Text, Spring Break Massacre, Sigma Die!, Revamped, The Rage 2007, The Final Curtain, Necronaut, Fallen Angels, Last Rites, The Cemetery Gates, The Mangler Reborn, Song of the Dead, Aconite, Dead Things, Bubba Ho-Tep, Wishmaster, That Little Monster, Silent Night Deadly Night 4), Kathy Lester (Phantasm III & V), Lynn Eastman-Rossi (Night of the Demon), Angus Scrimm (Phantasm II - V, Disciples, John Dies at the End, Satan Hates You, I Sell the Dead, Automatons, Satanic, Legend of the Phantom Rider, Wishmaster, Vampirella, Fatal frames: Fotogrammi mortali, Subspecies, Transylvania Twist, Chopping Mall, Scream Bloody Murder, Sweet Kill). A little bad acting here and there, but not from the main cast.
The special effects, good as they are, still take a backseat to the plot-line in terms of overall contribution to the movie's success, but that said, it's still got great special effects for the most part. The flying spheres of death are not only original, but really cool to watch. They're simple, conventional effects, generally strung through a fishing line and thrown by someone out of sight, but there's never really any obvious indication that that's how it works. The dwarves are great as well, though in this entry in the series, you don't see their faces all that often. Probably because the dwarves were played by children, and it's much easier to just obscure their faces with darkness than it is to try keeping them from screwing up their prosthetics. Beyond that, we've got the blood fountains spurting out the back of the spheres, severed fingers, a couple explosions, and... the fly monster. Gonna have to tell it like it is with the little fly beastie, it looks like garbage. At least it's only on screen for a few seconds. But overall, the special effects are pretty good. As far as the shooting locations go, you can say that most of the pivotal scenes take place in great, atmospheric locations, though it's got its share of scenes that take place inside an ordinary house as well. The marble hallways inside the mausoleum were actually just plywood with marble patterned linoleum or something similar spread across them, but you'd never know by looking at them. All the scenes in the mausoleum look great, as do all the cemetery and highway sequences. Additionally, you've got a bar, antique shop, and the hippy love den where the fortuneteller lives. All of which are alright, but not really special. The soundtrack is my favorite soundtrack from any movie in cinematic history. It's remarkably creepy, atmospheric, and unusually versatile to the point that they've basically got 20 tracks that're all different, but that utilize the catchy melody in different ways for each track. I've noticed it crop up in a few songs over time as well, including Within Temptation's "Angels" and Sonic Syndicate's "Crowned in Despair", and has also been used by Entombed and Tormentor in their music. It's a remarkably simple little piece, but it's extremely catchy and matches the tone of the movie as well as any you'll ever see/hear. Overall, Phantasm is a masterpiece from the golden age of horror, and a must see even for casual horror fans, so if you haven't already, check it out. You'll become an instant phan.