Tag Archives: horror film

Mother of Flies (2025)

January 28, 2026 Ken Miller Leave a comment

Starring Zelda Adams, John Adams, Toby Poser, Lulu Adams and Sofia Macaluso. Written, directed and edited by John Adams, Zelda Adams and Toby Poser. Produced by Toby Poser.
Wonder Wheel Productions

The film features shots of flies and maggots... — The film features shots of flies and maggots…

Jake agrees to take his adult daughter Mickey, who is suffering from cancer, to meet a healer called Solveig. They will stay in Solveig’s ivy-covered, isolated house (which is located near a cairn of rocks) for the next few days as the mysterious woman attempts to deal with the tumour in Mickey’s belly. Jake is skeptical, but Mickey is willing to give Solveig a chance, so she listens to the healer’s many musings, though a series of flashbacks make it clear to viewers that Solveig is actually a witch…

The house by the cairn... — The house by the cairn…

MOTHER OF FLIES is the latest work from that low budget independent filmmaking team – the Adams family. Father John, mother Toby (Poser) and daughters Zelda and Lulu Adams have been responsible for releases including HELLBENDER (2021), WHERE THE DEVIL ROAMS (2023) and HELL HOLE (2024). With their latest project they succeed in making it look very good, with contrasty and saturated colours ensuring the visuals are stunning. The acting is acceptable but not exceptional, as is the general dialogue, but the many voiceover monologues spouted by Toby Poser as Solveig, which are meant to sound poetic, significant and deep, are actually irritating and dull.

Lulu Adams as a hotel worker who supplies some vital information regarding Solveig to Jake

“Trees bind the heaven to earth, roots clenching down the dirt, leaves grasping high in the sky…” Yada yada yada. Solveig’s unending blathering doesn’t add anything to the really quite astounding visuals, and I’d even say that they severely detract from the impact of all the scenes they’re added to. It would almost pay to watch the film with the sound turned off!

Solveig often brandishes clusters of thorns

Solveig believes that things in the state of death are as relevant as when they were living

Above: two shots from a film that does boast a lot of striking imagery

Okay, there is a bunch of interesting things to look out for, like Solveig’s use of a snake’s egg to initiate the removal of Mickey’s tumour, a process that requires the witch to allow a snake to slither into her mouth, which she then regurgitates into Mickey’s mouth later. Flashbacks to the time Solveig dealt with the stillborn child of a woman, bringing it back to life and incurring the wrath of the villagers, is pretty intriguing and utilises a very realistic-looking prosthetic dead baby. There’s a grisly tumour removal scene too; this involves Solveig transforming the tumour-lump into the form of a foetus (providing me with the excuse to feature this movie on the Monster Zone blog as this tumour-child is kind of a monstrous thing, right? Plus – Solveig is eventually revealed as a horror-hag – and films with scary witches can definitely be included on this blog – go and search for my review of the hag-tastic flick THE PALE DOOR )

MOTHER OF FLIES does contain some grisly moments

Towards the end of the film some tension is actually created when Jake finally finds out that he and Mickey have been staying in an abandoned patch of land next to the cairn of rocks (known locally as The Witch’s Tit), which is the resting place of Solveig’s corpse. Jake, upon hearing this, speeds back to save Mickey, but the film itself cannot be saved, unfortunately, because the striving-to-be-elegiac-and-meaningful monologues scupper everything. Even a flashback showing Solveig getting stoned to death by villagers with faces coated in lime is sucked of all drama because the footage is overlaid with the same endless, flowery, empty verbiage uttered by Toby Poser.
What a pity. Still, the film does look good.

Bloody Muscle Body Builder in Hell (1995)

August 26, 2025 Ken Miller Leave a comment

Promo art — Get ready for lots of low budget blood and gore!

Starring Shinichi Fukazawa, Masaaki Kai and Asako Nosaka. Written, directed and produced by Shinichi Fukazawa.

Naoto (Fukazawa) is asked by his ex- girlfriend, Mika (Nosaka), to take her to the haunted house that Naoto has inherited from his deceased dad. They are accompanied by a psychic (Kai), who is able to pick up on an ominous presence in the building. Later, the face of Naoto’s dead father (also played by Fukazawa) appears on a TV screen to warn his son that the psychic is possessed by the ghost of his murdered lover, who has the power to prevent them from leaving the house… and Naoto is informed that the only way to deal with the psychic is to hack him to bits!

Low budget gory things occur throughout the film

This very low budget film from Japan, also known as THE JAPANESE EVIL DEAD, looks really grainy (it was shot on Super 8) and manages to make Sam Raimi’s 1981 movie look like a big budget IMAX production in comparison! Shinichi Fukazawa filmed most of this flick in 1995, but it wasn’t released on DVD in Japan until 2012. It received an official international release in the UK by Terracotta Distribution in 2017, and since then Visual Vengeance has released the film on Blu-ray in America.

Bloody Muscle Body Builder in Hell artwork — Artwork for the Visual Vengeance release

There are lots of lo-fi FX to keep you watching BLOODY MUSCLE BODY BUILDER IN HELL, such as when the ghost drops a pendant into the psychic’s mouth, after which the pendant slithers from the victim’s mouth via jerky stop-motion effects, then bores through his eye, into his head! We also get to see a knife rammed through a head, skewering an eyeball on the blade’s tip. Some of the visual gore gags are fun, like when Naoto uses his chest expander as a kind of catapult to fire an iron bar through a zombie’s head. These effects are far from realistic, but I guess it’s the willingness of Fukazawa to try and put this stuff onscreen not matter what that counts.

As much as Fukazawa tries to emulate Sam Raimi’s first two EVIL DEAD movies (at one point the lead character even says “Groovy”), there’s a lack of real verve and bravura camera techniques compared to Raimi’s productions. The location lacks atmosphere too, with everything shot in close-up. But perhaps it’s churlish to be too critical about the film’s shortcomings, as there’s an I’m-doing-the-best-I-can determination to the proceedings, with Fukazawa trying to get as much up on screen as his budget (and his skills) will allow. Thus we get a severed head zipping about on a severed hand, more cheap and cheerful stop-motion footage, and a sequence where the dead girl uses body parts and blood to regrow herself à la a bargain basement version of what happens in HELLRAISER (1987).

A shot from Bloody Muscle Body Builder in Hell

The film ends with shots of a decomposing zombie body, again accomplished by stop-motion and amateur gore effects, that apes the finale of THE EVIL DEAD (1981), though it’s all done in a far less accomplished way, of course.

If you’re partial to do-it-yourself horror productions and you’re happy to ignore the many shortcomings, the non-existent budget, and a lack of professional technique, then this short, inexpertly-made, unpretentious homage to Sam Raimi’s classics just might be your cup of (tarnished) tea.

Drained (2024)

February 14, 2025 Ken Miller 3 Comments

Starring Ruaridh Aldington, Madalina Bellariu Ion, Craig Conway, Angela Dixon, Andrew Lyle-Pinnock, Natasha Patel, Andrew Lee Potts, Timothy Blore, Kenton Lloyd Morgan, Ayvianna Snow, Sean Earl McPherson and Matteo Pasquini.
Written by Peter Stylianou.
Directed by Peter Stylianou and Sean Cronin.
Produced by Sean Cronin, Peter Stylianou and Daniel Patrick Vaughan.
House54/Magnificent Films/RG Films/Red Guerilla Films

A young, jobless artist becomes obsessively attracted to a seductive woman he encounters at a London club, and he finds himself unable to stop seeing the woman, even after he discovers that she’s a vampire intent on feeding from him daily, draining him slowly…

Thomas' time spent with Rhea can be draining... — Thomas’ time spent with Rhea can be very draining…

The filmmakers do wonders with the budget available to them here, crafting a satisfying modern vampire tale. The protagonist’s relationship with his vampire lover effectively shows how romantic entanglements can be very needy and one-sided, ultimately becoming toxic for the obsessed partner. And in the case of this romance, it is literally a draining experience for the boyfriend, as he offers up his blood to keep his girlfriend satiated.

Madalina Bellariu Ion is Rhea the vampire

Ruaridh Aldington is a revelation here as the initially rather pathetic Thomas, an aimless young guy living at home with his mum, who falls head over heels for the sultry vampire Rhea, played nicely in a coldly no-nonsense manner by Romanian actress Madalina Bellariu Ion. The film’s success really depends upon Aldington making his character work, because Thomas is a pretty unprepossessing, ambition-free dude when we first meet him at the start of the film, as he masturbates in his bedroom, takes his mother’s hospitality for granted, and refuses to make any effort to get to know his mother’s new boyfriend. But, thanks to Aldington’s subtly persuasive acting here, we do start to care for Thomas as he navigates as best he can through his problematic relationship with Rhea.

Good actors can convey everything just with their eyes. Ruaridh Aldington is one of those actors

DRAINED has its own specific vampire rules. These include Rhea’s ability to fly and move super-quick when she wants to, she can walk about in the daytime (but she does like the sky to be cloudy, hence why she moved to London), she prefers to not fully drain and kill her victims if she can help it, but she must battle increased predatory urges during the full moon. Rhea needs to be invited into a person’s home, she likes to feed from arms rather than necks, and she is attracted to the blood of certain people – and it turns out that Thomas has just that type of blood, drawing Rhea to him.

This last point helps prevent the central relationship from being totally unequal: Rhea keeps coming back to Thomas because his blood is a little different, so they do share a mutual addiction (Thomas gets some kind of supernatural buzz from being fed upon), but it is definitely Rhea who has the upper hand in the relationship. As Thomas’ health begins to deteriorate, and he tries to break free, matters become more serious, and people die.

Don't get on the wrong side of Rhea... — Don’t get on the wrong side of Rhea…

There are some bloody scenes, but the film isn’t particularly gory. Rather than depending on show-stopping bouts of carnage, DRAINED keeps you watching because Aldington manages to make you care about his character’s plight. The script dodges the pitfall of becoming a typical vampire romance by being more honest about Rhea’s part in the ‘romance’: she never bullshits about being truly in love, and she openly admits to Thomas that it’s his blood that she needs on a very regular basis.

Vampire victims in this film always have puncture marks on their arms

With Thomas becoming a prime murder suspect, then finding himself on meds in a mental institution for a while, you’d be forgiven for assuming DRAINED must be quite dour and depressing, but it isn’t, thanks to the way it is filmed and acted, and because there’s a vein of humour threaded through the movie that lightens the atmosphere, a lot of it stemming from Thomas’ interactions with his mother’s new partner John, a local pest control expert, played by Craig Conway. The film also finds time to show that Rhea does have feelings after all, as she stays connected with her previous lover Andreas (Pasquini), who is severely ill. The inclusion of Andreas, whom Rhea refers to as her Old Man, also helps to drive home to Thomas (and the viewers) that this is what happens to anyone who stays too long with Rhea: they’ll be emotionally and physically sucked dry by her.

Craig Conway is John the exterminator, out to rid Thomas' mother's home of pests (and hopefully Thomas too) — Craig Conway is John the exterminator, out to rid Thomas’ mother’s home of pests (and hopefully Thomas too)

The cinematography by Daniel Patrick Vaughan is top-notch, the music score really enhances the film, and good story choices are made throughout by writer Peter Stylianou. Stylianou also co-directs the movie with Sean Cronin, who gets to play a SWAT captain during the finale!

Go and give this a watch, I’m sure you’ll enjoy it.

The Treadwell Brothers

December 16, 2024 Ken Miller 1 Comment

A sneak peek at a host of film zombies that are being created the old school way, which is just the way I like it!

A retro, practical-effects zombie! Woot!

THE TREADWELL BOTHERS is a low budget film that is in its preproduction stage and, hopefully, once finished it will find its way onto Amazon Prime. Maybe the movie will raise its rotting head on YouTube: I guess we’ll just have to wait and see. The two filmmakers behind this project, brothers David and Philip Fitzgerald, are currently trying out zombie makeup designs, doing lighting tests, and becoming accustomed to using their new camera – a Cannon Eos C300 mark II. Philip will be operating the camera and David will be making the zombies. Both brothers will be starring in the film, and Philip will be directing. David is the co-director and, though he is credited as David Fitzgerald for his makeup effects work, he will be using his stage name, William Fitzgerald, as his acting credit. Got all that? Cool, let’s move on…

The Fitzgerald brothers will play the titular TREADWELL BROTHERS

The plot will focus on characters dealing with a world that has just about managed to contain a zombie apocalypse. Society has fragmented, with pockets of survivors living in disparate communities. The protagonists are the Treadwell Brothers (played by the Fitzgerald brothers), who were ‘Cleaners’ during the war with the zombies. These Cleaners were operatives set up by the military, and they persevered even after the military’s capabilities had been degraded. Now, in this post-war world, the Treadwell Brothers continue to ply their trade, being paid in kind to keep stray zombies out of towns and other human settlements.

A shot from test footage taken of a zombie shambling near a disused railway — A shot from test footage taken of a zombie lurking near a disused railway

But there are other Cleaner teams out there, and one gang in particular has its own agenda. There’s also a twisted professor trying to create the perfect anti-zombie zombie, which he aims to use to destroy the other undead corpses… but the prof has begun tinkering with humans to perfect his super-zombie.

As the story progresses, the Brothers continue their debate regarding the origin of the zombie outbreak: one believes it’s some kind of biblical punishment, and the other says that it’s a man-made phenomena. Eventually, though, they will discover the outbreak’s true source…

But let’s focus on the zombie designs now, which are still in their preproduction stage…

There will be various ‘character’ zombies, including: Oiler Zombie, Mother Zombie, Baghead Zombie, Soldier Zombie, Hoodie Zombie, and Black Eyes Zombie.

This is the Oiler Zombie prior to painting. The finished version will be burnt on one side

David, who created the ghostly, bandaged demon-dog creature in the short film SQUEAK AND I’LL RUN TO YOU (2021), is building the zombies using various old school, retro techniques, including the direct-build method. He has taken inspiration from such makeup effects legends as Roy (TALES FROM THE CRYPT, THE PLAGUE OF THE ZOMBIES) Ashton and Jack (DRACULA, FRANKENSTEIN, WHITE ZOMBIE) Pierce, using materials like cotton batting (absorbent cotton pressed into pads or layers) that is impregnated with liquid latex to create dead skin. David says that one of his movie touchstones for this project is Fulci’s ZOMBIE FLESH EATERS (1979), and his Hoodie Zombie is inspired by Amando de Ossorio’s BLIND DEAD movies. He hopes the practical zombie effects will imbue THE TREADWELL BROTHERS with an Amicus vibe too.

CGI zombies, like those in WORLD WAR Z can be okay, but I prefer guys in zombie makeup and prosthetics! — CGI zombies, like the ones in WORLD WAR Z (2013), can be okay, but I prefer guys in zombie makeup/latex masks/prosthetics, just like the undead dude above!

So let’s feast our eyes on some zombie-tastic designs now!
(note: these are shots of in-progress creations, so the costumes haven’t been distressed and broken down yet, etc)

Early-stage Hoodie Zombie, when David was considering giving it a hanging jaw — Early-stage Hoodie Zombie, when David was considering giving it a very distinct hanging jaw

Then David decided to make the detached jaw effect more subtle and less grisly

Above: two shots of the later version of the Hoodie Zombie

Chest and ribs detail of a zombie, prior to painting

Cotton batting, impregnated with liquid latex, is used to create the zombies' dead skin — Cotton batting, impregnated with liquid latex, is used to create the zombies’ dead skin

The Soldier Zombie's skull-head was made from Carte Lana wool paper, then covered in rubber and cotton batting — The Soldier Zombie’s skull-head was made from Carte Lana wool paper, then covered in rubber and cotton batting

Carte Lana wool paper can be made to look very skull-like. Note that these teeth haven't been given aged detailing yet — Carte Lana wool paper can be made to look very skull-like. Note that these teeth haven’t been given aged detailing yet

Skin texture is sculpted into the cotton batting before it completely dries... — Skin texture is sculpted into the cotton batting before it completely dries…

This is a rough, early-stage 'clay sketch' for a background zombie — This is a rough, early-stage ‘clay sketch’ for a background zombie

Sculpt of the Soldier Zombie's gnarly hand — Sculpt of the Soldier Zombie’s gnarly hand

This very effective-looking zombie hand was created by gluing the latex moulding onto a glove!

A look at the liquid latex & cotton ‘skin’ used for the zombies

Above: two more shots of the Hoodie Zombie

So here’s hoping that the Fitzgerald brothers start filming their undead opus, so we’ll get a chance to watch their wonderfully old school zombies shambling across the screen!

A zombie on the loose: this looks like a job for THE TREADWELL BROTHERS!

Under the Shadow (2016)

November 12, 2024 Ken Miller Leave a comment

The djinn, seen as a creepy floating sheet!

'Fear will find you' — ‘Fear will find you’

Starring Narges Rashidi, Avin Manshadi, Bobby Naderi, Aram Ghasemy, Arash Marandi and Soussan Farrokhnia. Written and directed by Babak Anvari. Produced by Oliver Roskill, Lucan Toh, Donall McCusker and Khaled Haddad. A Wigwam Films production, in association with Creative Capital and MENA Film, supported by Doha Film institute.

In the 1980s, during the Iran-Iraq War, young mother Shideh (Narges Rashidi) must look after her daughter Dorsa (Avin Manshadi) alone when her doctor husband Iraj (Bobby Naderi) is assigned to work in a war zone.

Soon Shideh and Dorsa find themselves haunted by a creepy spectre. A neighbour claims that the entity is a djinn, which has been carried there on the unexploded Iraqi missile that has slammed into the top of their apartment block.

Produced by British film company Wigwam Films, this international coproduction (UK, Jordan, Qatar, Iran) expertly builds its atmosphere of unease, akin to a tale from M. R. James.

I liked the choice of locale – Tehran during the conflict between Iran and Iraq – which allowed us to watch a creepy story that featured interesting cultural details, such as the fact that women in this patriarchal society could be punished for not wearing a headscarf – and owning something as innocuous as a Jane Fonda workout videocassette was strictly prohibited.

The different cultural environment also means that we get to encounter a supernatural/folkloric being from another belief system, in this case a djinn. I love the idea that the djinn is snagged from the sky and brought down to earth via the intervention of a missile!

The djinn spirit itself is fleetingly seen as an out-of-focus man, but mainly it is represented as a floating sheet (often resembling a chādor veil), as the stresses of the war build and Shideh is forced to confront the supernatural presence to save her daughter.

Well worth seeking out.

The Masque of the Red Death (1964)

April 24, 2024 Ken Miller Leave a comment

Look into this face... — Look into this face…

Starring Vincent Price, Hazel Court, Jane Asher, David Weston, Nigel Green, Patrick Magee and Skip Martin. Written by Charles Beaumont and R. Wright Campbell. Directed by Roger Corman, produced by Roger Corman and George Willoughby.

Some of the cloaked representations of the killer plagues... — Some of the cloaked representations of the killer plagues…

Prince Prospero (Price) invites a select group of rich, decadent nobles to take refuge in his castle as the Red Death plague ravages the surrounding countryside. Prospero abducts three local villagers, Gino (Weston), Ludovico (Green) and Francesca (Asher), takes them to his castle and plans to corrupt the innocent Francesca with the help of his consort, Juliana (Hazel Court on top form), who wishes to marry Satan. Prospero intends to force Gino and Ludovico to fight to the death as sadistic entertainment for the nobles, and a lavish masked ball is also planned… but a red-cloaked figure crashes this party and brings an end to the jaded revelry…

Skip Martin, as Hop Toad, will get his revenge... — Skip Martin, as Hop Toad, will get his revenge…

Vincent Price, as the satanist Prince Prospero, is excellent here, managing to be equal parts sadistic, theatrical and thoughtful. His character even manages to find a shred of goodness within himself at the end, when he asks for Francesca to be spared.

Price, as Prospero, intends to lead Francesca (Asher) astray

Nicholas Roeg provides the lush technicolor photography for this Roger Corman production, which has an eloquent screenplay, focusing on Prospero’s philosophical musings regarding the nature of evil and innocence, written by Charles Beaumont & R. Wright Campbell, based on Edgar Allan Poe’s short stories ‘The Masque of the Red Death’ (1842) and ‘Hop-Frog’ (1849) .

A dream sequence (during Juliana’s fatal betrothal to the devil) utilising expressive dance styles and the climactic masked ball are dealt with in an arty manner (too arty for some viewers, perhaps) that, I think, helps the film become simultaneously lurid & sophisticated.

The revellers, even after they succumb to the Red Death, continue to dance... — The revellers, even after they succumb to the Red Death, continue to dance…

The Red Death reveals his face... and it is the face of Vincent Price! — The Red Death reveals his face… and it is the face of Vincent Price!

Juliana brands herself with an inverted cross

Juliana's dabbling with the occult ends bloodily... — Juliana’s dabbling with the occult ends bloodily…

The title sequences, at the start and at the end, are vividly-coloured and well-planned. They’re just some of the components that make this such a great-looking film. The series of different-coloured rooms in Prospero’s castle are visually striking, as are the hooded figures that personify the various plagues. These cloaked, humanoid representations of plagues are the closest the film comes to having monsters (and my excuse for reviewing THE MASQUE OF THE RED DEATH on the Monster Zone blog), though the film also treats us to a character dressed in an ape costume, who meets a fiery end.

The hooded plagues discuss how many victims they have claimed

The plagues, all dressed in different coloured robes, prepare to slowly march on towards new lands and new victims

This is my favourite Corman movie. Corman rated this movie as one of his favourites too, though he did complain at the time that the British crew was slow compared to US crews. He did, however, get to use impressive sets from Hal Wallis’ BECKET production and had sumptuous cinematography courtesy of Nicholas Roeg thanks to the fact he made the film in the UK.

THE MASQUE OF THE RED DEATH is imaginative, colourful and exceedingly re-watchable!

'We defy you to stare into this face' — ‘We defy you to stare into this face’

Lancer Books did a novelisation of the movie…

This is the comic book adaptation…

Finally, here’s an awesome Italian poster for the film…

Curse of the Faceless Man (1958)

April 16, 2022 Ken Miller Leave a comment

In modern day Pompeii a worker uncovers an ancient jewel box and a body coated in calcified layers of volcanic ash. Dr Carlo Fiorello (Luis Van Rooten), the director of the Napoli Museum, calls in Dr Paul Mallon to help him study the body of this Faceless Man, and it is discovered that there is still a flesh and blood human corpse preserved beneath the outer calcified layer. (The famous Pompeii ‘stone bodies’ are actually plaster casts made by pouring plaster into cavities left by decomposing victims of the catastrophe that happened in 79 A.D.)

Fiorillo says that he isn’t certain that the Faceless Man is truly dead, but Mallon rejects this suggestion: he’s sure there must be another explanation for the murders that start happening in the vicinity of the crust-coated corpse.

Further research reveals that, back in Roman times, the Faceless Man was a gladiator called Quintillus, who was in love with the daughter of a Roman senator.

The Faceless Man, who intermittently comes back to life, kills off several people and takes a liking to Mallon’s artist fiancée Tina (Elaine Edwards)… who turns out to be the reincarnation of the Roman senator’s daughter. Who’d have guessed that?!

Tina sits in the museum... unaware that the Faceless Man will soon reanimate! — Tina sits in the museum… unaware that the Faceless Man will soon reanimate!

CURSE OF THE FACELESS MAN is most effective when it shows the calcified living corpse in action, killing victims when there are not many other people around.
(After murdering folks, the Faceless Man always falls to the floor and resumes its inanimate state, which kind of reminded me of the way the ‘living’ toys in TOY STORY always fall down and act ‘dead’ whenever people enter the room!)

The Faceless Man costume (created by Charles Gemora) is simple but effective, with the ‘facelessness’ of the bumpy head imbuing the creation with an extra creepiness. The creature is basically a novel variation on the mummy – and the plot does eventually link Ancient Egyptian practices with the Faceless Man, when the protagonists hypothesise that Quintillus was probably in an Egyptian temple within Pompeii when Vesuvius erupted, and he got splashed in embalming fluids before he was covered in ash.

The Faceless Man’s origin is rather too convoluted, as we are informed that not only was Quintillus accidentally doused in sacred Egyptian chemicals, the intense heat of the volcanic eruption also had some extra special effect on these chemicals and there was radioactivity in the ash that helped preserve him! The Faceless Man’s backstory is made more complex with the inclusion of an Etruscan curse and the aforementioned reincarnation plot line!

CURSE OF THE FACELESS MAN was directed by Edward L. Cahn, written by Jerome Bixby, produced by Robert E. Kent, had a seven-day shooting schedule and was made on a low budget. Many of my favourite 50s B movies are cheapies, though, so the lack of budget doesn’t overly bother me, but it is disappointing that Richard Anderson, later to find fame as Oscar Goldman in THE SIX MILLION DOLLAR MAN, is really rather dull & wooden as the overly skeptical lead character Paul Mallon. The needless voice-over could also have been removed to make this a better movie.

Richard Anderson is unfortunately less animated than the calcified Faceless Man

Putting those gripes aside, the fact is I watched this horror picture mainly to see the Faceless Man, and I have to say that I was quite impressed with this crusty creature. It even has a rather interesting demise, when it strides into the sea at the Cove of the Blind Fisherman and simply begins to dissolve in the seawater.