'To All a Goodnight' (1980) – David Hess.

Following the accidental death of a co-ed at frisky all girls Calvin Finishing School, and not long after the ubiquitous '2 years later' title card, a goodly number of these hot-panted, hyper-libidinous Santa babies are finished for good!!! This fun, easy to watch, largely routine early 80s slasher is stolidly directed by handsome genre icon David Hess, but any Splatter Mad Hatters expecting heroic doses of 'The House on The Edge of The park nastiness will be a mite disappointed. Amongst the festive pantheon of Yuletide slashers To All a Goodnight can still hold its bloodied, decapitated head high, since it remains a fairly gory, bona fide Christmas carnage cracker! This is certainly no turkey, and it's happily more Santa gores, than Santa bores, some may feel that To All a Goodnight needed just a tad more 'cranberry sauce', all the festively frolicsome co-eds are WELL worth stuffing! While the Grindhouse elements are lacking, and Hess's film suffers greatly from its lacklustre score, points are redeemed for the lovely girl next door Nancy (Jennifer Runyon), and make-up maestro Mark Shostrum's gruesomely neck-centric kills are certainly juicy enough!

 Abnormis (2010) – Maik Ude.

This wickedly gruesome German backwoods S.O.V slasher finds young couple Chris (Darkun) & Eva (Andrea Mohr) captured, cannibalised, and brutally Tortured by a monumentally gross, metal-mouthed maniac (Sven Spennagel). While the couple's fractious relationship was tempestuous, NOTHING could prepare them for the savage abuses at the graceless hands of their sadistic, psychopathically bloodthirsty captor! While slightly plotted, Ude's audaciously gore-loaded splatter-fest is more than generous with its heroic dosing of sinew stripping S.O.V butchery! The cellar carnage is intercut with Chris's blonde mistress Kristina's (Divina Buran) stoic investigations, her boozy private eye (Marco Kruse) proving inept, and the ill-tempered gun-thugs tasked to retrieve the dipso detective's gambling debt.

Abnormis provides much visceral pleasures to aficionados of extremely grisly, stridently splattery slashers, and any who especially savour the more demented examples of S.O.V mayhem should be all over this like hot funk on a rutting baboon's fire-red ball-sack! The cast's performances are above average for S.O.V fare, the plentiful practical FX might have been better served without digital manipulation, but the gorily untreated make-up is spectacularly bloody, and the vengeful, J-Horror'd, black-metal-looking banshee rocks no less righteously than the extreme metal title track! Should explicit depictions of a boot-administered abortion, bloody scalping, brutalising torture, monstrous skull-crushing, gratuitous gut-munching, raging kneecap destruction, non-surgical eyeball extraction, and absolutely insane bludgeoning be anathema to your viewing pleasure, Abnormis is manifestly not for you, dude!

 The Hagstone Demon (2011) – Jon Springer.

Hard-luck Ex-Journalist, active boozer Douglas Elmore (Mark Borchardt) works as a caretaker in the derelict, soon to be demolished Hagstone building. He experiences malevolent visions of his dead wife Julie (Gizelle Erickson), and not long thereafter, some of the remaining tenants die suspiciously, Douglas convinced that malign supernatural forces are at work! Jon Springer's engagingly quirky occult horror benefits hugely from Borchardt's sympathetic, winningly sardonic demeanour, amiably providing for an idiosyncratic, yet eminently watchable spook-seeker! The Hagstone Demon proved compelling odd, the doomy setting is eerie, and the lurid incidents of weird necromancy, and eroticized black magic bugaboo are colourfully realised. Writer/Director Springer has done an exemplary job of imbuing The Hagstone building with a bleak, and palpable strangeness, heightening the eldritch mystery that evilly envelops all within its decayed walls.

I strongly believe that The Hagstone Demon will continue to garner an increasing number of horror fans, especially those who appreciate the film's playfully off-beat approach to pulpy Satanic terror. While it's not altogether easy to explain The Hagstone Demon's singular appeal, but, for me, it frequently manifested a uniquely kooky/spooky vibration that I more than happily tuned into. There were sublime instances when the twitchier characters oozed an Eightball/Hate comic eccentricity, the dingy, diminutive comb-over freak being exquisitely Eightballian! Springer's neat-o indie spookshow was not only entertaining, it also revealed my hitherto latent supernatural talent, as I unequivocally knew, just from eyeballing the poster that I would love it, and, by Jove, I most certainly did!!!

 Vengeance of The Dead (2001) – Adams & Picardi.

Moody, low budget supernatural indie feature finds sensitive young man Eric (Michael Galvin) visiting gramps (Mark Vollmers) at his isolated Wisconsin smallholding, suffering increasingly intense visions of a young girl, which escalate into a series of sinister nocturnal peregrinations. Performances are fine, and the slow-building supernatural content is competently realised, with an engagingly quirky aesthetic throughout. I enjoyed the somnambulist content, quite unusual, the chilling concept of a vengeful spirit utilizing a living host to brutally enact her righteous revenge certainly maintained my interest. The film-makers, and cast all did a credible job of bringing a spectral eeriness to haunting rural horror treat Vengeance of The Dead. My low expectations were greatly exceeded, it felt like a neo-Gothic downer mood piece with some nastily hell-fired exterminations.

 Teen Alien aka The Varrow Mission (1978) – Peter Semelka.

Not the first to utilize the frequent '20 Years Later' title card, and certainly not the last, but is it the best? Amiable Teens organizing a spooky Halloween event in a historically 'haunted' mill, disturbingly encounter an authentically weird alien being in no less authentically camp, 70s Sci-fried creature feature Teen Alien. Shot in picturesque Utah, this playful indie feature is a mostly fun experience, one that should prove especially edifying to those having an unusually pronounced interest in bygone B-features, replete with a generous quotient of kitsch, intended/unintended humour, D.I.Y practical FX, and affable folksy goofiness! It might be entirely fanciful on my part, but I would like to think that the opening scene with the inebriate Hillbilly making his 'Squeeze' influenced Stephen King's acting choices in Creepshow.

Clearly made to appease a younger, spooky Sci-fi appreciating demographic,it is, perhaps, Teen Alien's innate naivete, and wholesome approach to Sci-horror that has given it such an extended shelf-life? On the whole, the cast's performances prove surprisingly credible, and the film's lively, disco-dusted synth score is effective and, for me, provides a genuine highlight! I picked up on some strong Don Dohler/Bill Rebane vibrations in Semelka's spooksome Sci-romp, which is why it made such a positive impression. The bouncy scenes with the Scooby Gang preparing their Spook Alley are pretty neat, and the righteous-looking Alien is a keeper! Did the film-makers intend to make socio-political messages about 'aliens' squatting in wastefully derelict properties? Additionally, when the hottie disco Dolly aggressively proffers our young hero a pill, he seemed greatly reluctant to take it, but was it a RED, or BLUE one?????

 Bone Sickness (2004) – Brian Paulin.

'You turned me into a Necro-junkie!'

A remarkably dutiful, deliciously pulchritudinous blonde wife cares for her bed-ridden husband, mortally stricken by some pernicious bone malady. Seeking homeopathic relief, her bizarre readiness to administer decayed human bone marrow, not unsurprisingly, precipitates projective expulsion of parasites, a rare appetite for gory mayhem, and the creepy manifestation of a Bruno Mattei/Burial Ground-looking gut-ripping zombie horde! If one can mostly ignore the bravura avoidance of logic herein, the low-fi Bone Sickness enjoys a morbid, uniquely nauseating charm all of its very own. Violently defecating bloody parasites is unlikely to become a standard terror trope, and queasily suggests that Brian Paulin's no-budget, aggressively necrophagous shocker is partially infected with a mote of iconoclasm.

Throw in arbitrary nudity, gruesomely cannibalistic gross-outs, bloody eviscerations, righteous buzz saw carnage, and no degenerated S.O.V gore-hound can have a legitimate beef over the voluminously plasmic content of Bone Sickness. There are far worse examples of rudimentary acting, but the quotient of female eye-candy is qualitative, and their apparent willingness to disrobe leads me to believe that Paulin hired some team players. Like the old adage of bringing a knife to a gunfight, Paulin playfully posits his own rationale, that bringing an off-the-peg S.W.A.T team to a sinisterly slow-moving Zombie Holocaust is certainly no less futile! The Necrobiotic premise is harder to swallow than the protagonists worm-centric diet, I nonetheless remain demonstratively impressed by the gruesome, spaghetti-splatter milieu, and Bone Sickness's frequently heroic levels of old-school chunk-blowing.