Framing Britney Spears: Justin Timberlake Is A Bad Dude

Framing Britney Spears is a documentary film directed by Samantha Stark. The film explores the ideas around the #freeBritneyMovement and the fact that despite being only 39, Britney Spears has been under a conservatorship since 2008, with her father managing her estate and finances: this film aims to understand why that is.

This will make you angry, there is no other response you can have. It highlights flaws within the American legal system that are rife for abuse, it shows how the public’s obsession with celebrities can lead to destroying said celebrities life, and finally it show us just how sleazy Justin Timberlake is; in case you didn’t already know.

I think in terms of professionalism this is a solid documentary, as they speak to knowledgeable people on the matter and stick to the facts. Unlike other recent documentaries such as Netflix’s one about Elisa Lam, this documentary only gives a limited amount of time to online sleuths and activists, which makes for a more believable watch as you are not being bombarded with conspiracy theories.

I think the documentary is very needed, it deals with issues surrounding how women are treated in our society and the additional spot lights they are placed under, it is a very saddening watch especially when considering the impacts of self-reflection on how we the viewer see celebrities, though it does end with a message of hope, which personally I needed.

Overall, a well-done documentary.


Limiting the amount of online sleuths featured in the documentary

Using knowledgeable sources that had close ties to Spears

Causing inward reflection on celebrity

Pointing out holes in the legal system


It is too short.


Reviewed by Luke

Interview With McCain Lindquist Director Of The Tell Tale Heart

Written by Luke Barnes

Hey Everyone! I recently had the chance to sit down and chat with The Tell Tale Heart director McClain Lindquist, and we chatted all things horror- Poe, Hitchcock and of course the horror films of the 1970s and the 1980s. Be sure to check out my review before reading this, for further context- it is on the site now. I hope you enjoy!

Q: How important were practical effects to you with the Tell Tale Heart?

A: Practical effects were critical to our film. Using tangible special effect makeup was a decision we made right from the beginning. Our love of 1980s horror/Sci-Fi would be the impetus for this nostalgic approach. Respect for the modern masters would be the driving force in their inclusion. The late 70s and early 80s were the high-water mark of practical special effects and influenced us immensely. We harkened to the heady days of amazing films like American Werewolf, The Fly, Alien, The Thing, Howling, Evil Dead 2, and The Blob to achieve a realistic yet surreal tone. Chris Hanson tasked with the special effects department is a wizard and we were blessed to have his expertise and creativity involved from the earliest stages of preproduction.

Q: What is your favourite horror film and who are you influences?

A: I have such a long list! It’s so hard to narrow down to one film. But here are a few… The Exorcist, The Shining, The Omen, Rosemary’s Baby, Psycho, Deep Red, The Beyond, Shock, Hellraiser, Texas Chainsaw, Halloween, Train to Busan, Night of the Living Dead, Jaws, REC, Descent, Funny Games, Carnival of Souls, The Skin I Live In, Cape Fear, Devils Backbone, Jacobs Ladder, Poltergeist, Babadook, The Ring, Let The Right One In, Carrie, Suspiria, The Others, 28 Days, Dead Alive, but if you had to pin me down and say one movie it’s… Evil Dead 2!

 Q: Sequel ideas?

A: I have already parlayed or rewritten the (sequel) full length version into two distinct screenplays. I have no interest in doing a follow up film for The Tell Tale Heart. So I pilfered my own ideas and applied unused aspects from my original script to the new stories. Both of the scripts are also based on Edgar Allan Poe short stories. The Cask of Amontillado and The Black Cat. This trilogy of short films (including Tell Tale) would work splendidly within a movie anthology of Poe shorts. My full-length film fit perfectly amongst those two intense stories. So I just transplanted settings and characters to fit the narrative. It worked surprisingly well and came together very quickly and easily.

 Q: How did you get into filmmaking?

A: I was tasked to write, direct and produce the music videos for my band Bass Mint Pros. We shot our first music video in beautiful Death Valley National Park. I took to the entire process of filmmaking very quickly and shortly thereafter I was shooting local commercials, musical/political spoofs and then web based serials. Being a cinephile and film buff, making a movie was the next logical progression.

 Q: What are your thoughts on modern horror?

A: I have a deep love for the genre of horror. My favorite horror movies are the Universal Monster classics. As time passes sadly even the amazing genre films I grew up on are now considered outdated and vintage. Like all art forms it must change and grow, or it becomes stagnant and then dies. In my opinion modern horror is incredible. It’s the next logical step. I find this new wave of heady horror hounds to be most invigorating. It’s really refreshing to see the next batch of filmmakers having a sense of cinema and apply elements of art house to their films. Watching new perspectives has been eye opening. I want to see films from all cultures that represent a new and yet unseen viewpoint. I am also pleased with the style and bold experimentation in their vibrant films. I love the depth and emotional power of these trailblazers. Elevating the art form could never be (and should never be) seen as a negative element when it comes to the evolution of scary films around the world.

 Q:  Which do you value more when making a horror film, scares or atmosphere?

A: Atmosphere without a doubt! Ninety percent of horror is generated through atmospheric dread. The vast majority of atmosphere in cinema is created by gaffe or lighting. Pace, setting and tone are all vital to instil a spooky ambiance as well. As strange as it seems being “scared” is not critical. Everyone has different responses to fright. However I personally love jump scares and want the audience of my films to most definitely feel fear and become afraid. Fear is such a fascinating response to me. Fight or flight can be achieved without cheap scares if you carefully take the time to build up to the intense moments. Let the audience create the ambiance within themselves. It’s a litmus test of sorts. Don’t undercut the imagination and creativity of the viewer. They might just surprise you!

 Q: Do you have any fun production stories?

A: Too many to count! Fun is the perfect word to encapsulate our production. If you aren’t having fun why even create art? We have three rules to our film productions. 1. BE SAFE! (No one should EVER get hurt making a movie) 2. Work hard! (Duh!) and 3. Have FUN! It’s hard to think of any element that wasn’t incredibly fun while making this movie. It was very upbeat and jovial on set. Lots of light-hearted inside jokes abound. I was usually the butt of everybody’s joke and was pranked endlessly each and every day on set. I got them all back, however. When we watched the trailer at the wrap party I purposely had the file slow down and go into buffering mode. It was hilarious to watch them all squirm. Revenge is dish best served… COLD!

Q: If you were to describe the production in one word what would it be?

A: Definitive

Q: If you could meet and chat to any living or dead filmmaker who would it be?

A: Living – Martin Scorsese / Deceased – Alfred Hitchcock.

Q: If you won an Oscar who would you thank?

A: I would have the shortest speech in the history of the Oscars and beat Joe Pesci by one word. I would simply say… “Thanks!” However… I dedicated this film to my two beautiful daughters. I love them more than words could ever express, and they would be first and foremost on my mind.

Q: How important was Edgar Allan Poe’s influence over the film as a whole?

A: Edgar Allan Poe’s immense influence permeated throughout the entire process of the making of this film. From my brother nailing his voice in the dialogue to Janelle Corey’s costume design which we used Poe as the model. All the way down to Nikki BreedLove’s hair style which was styled in the vein of Edgar. Hell even Lyndi Bone’s set design was also inspired by the venerable Mr Poe. We wanted to respect him and his vast influence completely in our short film. This is his story. We are just tourists merely visiting his macabre world. I hope he would approve and appreciate our deference to his lasting legacy.

If you are interested, you can check out The Tell Tale Heart on the festival circuit right now! Or own in on VHS tape by ordering it from

Dog Day Afternoon: The Most Unlucky Bank Robber Ever

Written By Luke Barnes

Dog Day Afternoon is a crime film directed by Sidney Lumet. The plot follows a failed bank robbery carried out by Sunny Wortzik (Al Pacino), and the following hostage crisis. The film is based on the real-life experiences of John Wojtowicz.

This film is regarded by many as a classic, and in some ways I can see that.

I think the performance from Pacino is sublime, he makes what could have easily just been a tired bank robber bad guy role, or generic antihero, feel layered and human. Pacino’s Sunny is not just likeable, he morphs into more than that almost becoming a Robin Hood figure. When the tale reaches its inevitable end, you feel sad as you wanted him to succeed, and both of those emotions are a result of Pacino’s near perfect performance.

Moreover, this film does a lot for transgender representation, decades ahead of the curve. Though some might not like it when I bring up social political ideas in my reviews of old films, I will anyway. I think the trans representation here deserves praise, as it treats the character with dignity and agency, rather than turning them into a cliché or a punchline.

My issue with this film though that stops it from getting full marks is that the film does have some noticeable pacing issues. There are sections inside the bank that drag on, and it is a shame as these scenes for the most part provide terrific character work, but there are moments when you are left wishing something would happen, or that the film would cut back to what is going on outside.

Moreover, before I made a comparison to Robin Hood with this film and I don’t view that entirely as a positive. The idea of Robin Hood works, but as the narrative follows this approach it becomes overly simplistic to a degree, the misguided but doing it for the right reasons bank robber and the evil police feel a little on the nose, and obvious and the film could have  benefited from focusing more on the grey neutral ground, within and also binding the two characters.

Overall, a reverting heist film with a surprisingly good about of representation.



The characters are all handled well and with care

The transgender romance and the larger representation

The ending


A few pacing issues

Occasionally too simplistic in its writing


Monster Hunter: We Need Cat Chefs And We Need Them Now

Monster Hunter is a science fiction action film directed by Paul W.S Anderson, loosely based on the Monster Hunter series of video games. The plot sees a group of soldiers be transported to a world unlike our own, with the major difference being cat people and giant monsters.

So before we get into this review I just want to say I have not really played A Monster Hunter game before so I can’t say how faithful this film is or isn’t to the games. I can say that some of the elements that I have heard people talk about seem to bleed over.

Paul W.S Anderson gets a lot of very unnecessary hate as a director, I really don’t get it, with the exception of Pompeii, and the final Resident Evil film I have enjoyed everything he has done, and this is no different. Very much like Zack Snyder or Michael Bay, Anderson’s focus is on the visuals rather than the plot and as long as you understand that going in and check your expectations you are usually in for an entertaining time.

I think the best part of this film is the action scenes, both in terms of fighting the giant monsters (that actually look pretty good), and also in terms of the hand to hand fight scenes: in particularly I think the fight scene between Mila Jovovich’s Artemis and Tony Jaa’s Hunter is truly well done and the action feels very connective and visceral; I tip my hat to the choreographer.

Overall, an entertaining time with some nice visuals and fight choreography, is it going to be the best film you have ever seen? No. Though there are worse ways to spend an hour and forty-five minutes.


Mila Jovovich

The fight scenes

Faithful to certain elements of the games


A little bland at times

The story is very meh


Reviewed by Luke

The Cancel Culture Debate

Written by Luke Barnes

Hey everyone, this piece will be slightly different than my normal fare and will be more in the vein of the old blog I used to run or a few of my other posts, on this site, where I share my feelings on a particular issue.

Of course I am going right in at the deep end and am writing about cancel culture.

I can’t tell you the amount of times I see people complaining about cancel culture any time I go on any, social media platform these days, honestly it is boring, so I thought I would write a piece about my thoughts on the issue and whether I think it is a good thing or a bad thing.

Well first off, the issue is far more complex that good and bad and strays frequently into grey areas. Yes, people are allowed to say what they like under free speech, but if you actually look up those laws/ rules there are actually quite strict exceptions within them. Moreover, private companies can do what they like as you are choosing to use their service and have agreed to a TOS.

Furthermore, though people may be entitled to their opinions and the right to express them, it does not mean that they are free of the consequences of their actions. As the saying goes you can’t have your cake and eat it, you can’t have, an often-bigoted, opinion and then complain when people don’t like it, by the same logic used to justify you being allowed to say what you want, they can call you out.

Now cancelling itself is a rather simplistic term and can be easily misused. There have been many times when people innocent of what they are being accused of, have been harassed and attacked on social media sometimes to the point of suicide- without the accusers having a shred of evidence. In those cases we need to take a look at what we have become and question the value of the mob on social media.

Writing this I can only think one thing, maybe social media itself is the problem. The internet has made the world hyper connected and everyone can interact now, but maybe that isn’t a good thing. Both sides of this debate have said and done bad things, things that have had a negative impact on this world, and neither can be seen as in the right. Not to sound too much like an old person who doesn’t like technology, but maybe if we all just put our phones down and focused on our own lives things would be better.

An argument can be made that those that are ‘cancelled’ in some cases feed off the attention and use it to further their own aims, so by fueling them with your online outrage you are only helping those you intended to deplatform.

Ultimately, to not put too fine a point on it, when it comes to cancel culture there really aren’t any winners, those who do wrong should face more than the internet mob, they should face actual legal charges something far scarier. We as a society are becoming ever more divided, and this is just further proof of that, the internet and social media has just become a beckon for rage and hate.

Maybe it is time to unplug?   

The Mandalorian The Series So Far

The Mandalorian is a science fiction television program set in the Star Wars universe. So this review/ discussion will serve as a general one for the show so far, rather than a review of either season one or two. The plot of the show centres around the life of a lone Mandalorian (Pedro Pascal), as he travels around the Star Wars universe getting into trouble. The main through-line of the series is The mandalorian’s mission to find a home for a young jedi named Grogu (or as the internet has dubbed him Baby Yoda).

So, before we get into it, yes, I do believe Disney was right to axe Gina Carano from the show, as she has being spouting some heinous garbage on social media to try and chase clout and make herself a martyr of the conservative cause, and frankly I don’t want someone like that anywhere near my Star Wars content.

I’ve always had a strained relationship with Star Wars personally, I liked the animated shows, I like the books and comics and I like the games: the films not so much. However, this show a long with the new season of Clone Wars has got me back into Star Wars in a big way.

I enjoy how rich the world of this show is, and how characters return often. Do I think it is a bit lazy that the show has to rely on the team up mechanic for it’s season finale in both seasons so far of the show, yes I do, they should have tried something different with seasons two, but hey the finale was still pretty rad. I think the most interesting thing about Star Wars is the lore and this show really dives into that. It was fun seeing Ashoka (Rosario Dawson), again and I am excited for her spin off show.

I think the best thing about this show is its action, even in pretty standard middle of the season episodes we still get nice full on set pieces and action and it really helps the show to stand out from the competition and feel more like you’re watching a film then you are a tv show.

Overall, I won’t give it a score, as I don’t feel like that is where this piece was heading, but I will conclude to say this is a very good show, a show that restored by faith in Star Wars, does it play it too safe sometimes yes, but we are still very much entertained.


The action

The lore

The characters

Making Star Wars interesting again


It relies too much on team ups

Reviewed by Luke

Fun Moms Dinner: The Fun Part Is Dead On Arrival

Reviewed by Luke Barnes

Fun Moms Dinner is a comedy film directed by Alethea Jones; the plot sees a group of pre-school mums go on a night out together that quickly gets out of hand.

You have seen this film before, let’s get that out of the way now- there is nothing new or fresh with this film at all. It feels like a retread of a lot of the jokes and ideas from the Bad Moms films, though those films were better in almost every way.

I am not saying this film is bad, not quite, it is watchable but not much more than that. Adam Scott shines as an out of his depth dad and has some nice scenes that are very cutesy. Out of the four titular mums, none really shine. If I was forced to pick one to single out for praise it would probably be Toni Collette who even still is not at her best here.

This feels very much like a for the paycheck kind of film.

The humour, rather unsurprisingly didn’t work for me, again comedy is subjective, but personally I didn’t find a single joke funny, at best the ‘jokes’ are unfunny and at worst they are incredibly cringey and just awful

Overall, a very middling film, watchable, but not funny


Adam Scott

It is watchable


It feels like it was done for the money by a lot of the cast

It is not funny

The jokes are bad cringe


Football Factory: Hooligans In The UK

Football Factory is a British sports drama film directed by Nick Love. The plot examines the rise in football hooliganism, examining the lives of those who live to fight. We follow Tommy Johnson (Danny Dyer), one such hooligan as he gets caught up in a feud between two sects of fans and is forced to revaluate his life.

I don’t know if I have mentioned this in my reviews before, but I am a huge Danny Dyer fan and have been for a while: Dog House, The Business, Severance, Human Traffic all classic Dyer fare, and this fits in amongst that pantheon, though it doesn’t have as much charm as some of the others and is definitely rougher around the edges.

It is kind of crazy how badly this film wants to be Trainspotting, there are multiple moments in this film that feel almost shot for shot the same, with slight tweaks to avoid being called out. The difference of course is one is a British classic and the other is a blatant rip-off; I’ll let you figure out which is which.

Danny Dyer has his usual laddish charm and is okay here, though this does feel very safe for him. I would dare say that Dyer is upstaged by Neil Maskell, who plays his on-screen best friend and who also has some of the best scenes in the film, managing to inject a bit more soul into the film than Dyer seems capable off.

There are several moments in this film that are clearly supposed to be funny or sad, but in both cases the film struggles to achieve either. The first death doesn’t feel hugely impactful as we don’t really know the character, and the final death doesn’t bare weight as the film has done little to make us care about the character. The humour is far weaker, and the film tries less hard at this aim; those who the film is based on might find it funny, but anyone outside of that small group would probably be hard pushed to find a laugh here.

Overall, it is passable Dyer content, no The Business, in fact don’t watch this film at and just check out The Business it is a much better.


Dyer and his roughish ways

Neil Maskell is trying


The characters aren’t likeable and that limits the films emotional impact

The humour doesn’t work

It drags in parts


Reviewed by Luke

Interview With Craig Everett Earl Writer/Producer Of Intrusion: Disconnected

I recently had the chance to interview Craig Everett Earl, the writer and producer of horror film Intrusion: Disconnected, you can find a review of the film on site now, we chatted about everything from the state of modern horror, the trials and tribulations of filmmaking and of course the topic every interview needs, ICarly. Enjoy.

Q:  Important is creating and maintaining a running sense of tension to you in your films?

A:  I used to think that it wasn’t that important. Back when I wrote and produced the first Intrusion, I really didn’t want to concentrate on that. I just wanted to make a good story and characters people cared about. There is a big audience that considers a movie not being scary if they haven’t jumped, but basically the jump scare films are typically a loud cue in the music, the camera switching from a wide shot to close up and back to a wide suddenly with that loud cue. I’ve always thought realism in horror films was more scary because it’s unnerving when it’s something you can relate to or hear about in the paper the next morning. However, I gotta say tension and suspense definitely enhances the experience. With Intrusion: Disconnected, I tried to throw in a couple of jump scares but tried to focus more on the characters and try to get people relating to them. I think connecting to those characters and not wanting them to die is scarier in a sense and creates tension all on its own. The acting and the score for a film really enhances that tension and then in post you can always throw in the jump scare stuff for fun.

Q: Do you have any goof on set stories?

A: We have this running joke on set. One of my cinematographers brought up iCarly to get a point across for some reason. I honestly don’t even remember why. Somehow though, it turned into this ridiculous and meaningless joke. A couple of the cast started bringing up and blaming iCarly for everything whenever we had an issue. At one point, I believe one of my crew snuck a movie into the shot that actually said iCarly on it as a reminder. We had a blast running the gag into the ground. People would drop it and then someone would bring it up again to keep it going and everyone would sigh and laugh.

Q: Who is your inspiration artistically?

A: I was actually inspired by A Nightmare on Elm Street at age seven. I’m really disappointed I never got to meet Wes Craven, but I remember wanting to watch it and my mom telling my dad that I better not have nightmares. I wasn’t intrigued with the gore and killing, but the practical effects and I really loved the character-driven nature of it. Nancy Thompson was this character you were rooting for in every scene and one of the reasons I love horror. I also remember my parents having friends over later and telling me to go play with their kid. The first thing I showed them was A Nightmare on Elm Street and I think it terrified them. My parents said it was fine if it didn’t scare me but stop showing it to other kids. I’ve since met Robert England and Heather Langenkamp and they’re terrific people. John Saxon read the script and loved it but couldn’t sign on due to some SAG conflicts. Besides that though, I actually turned hugely to Poltergeist when I wrote Intrusion: Disconnected. I love how you think the film is over and there’s an entire thirty-minutes of chaos. I looked to that film when writing the script. I didn’t want anyone to know how or when it would end. I’ve seen so many horror films, so I really tried to make the audience think they knew where it was going and do the opposite.

Q: How would you describe the production in a word?

A: Exhausting. As a producer it definitely takes a toll on you both financially and emotionally. It’s very stressful and even if you’re prepared for things like the weather, sick actors, props not working properly, locations falling through at the last second, or even blocking and lighting a scene; it’s all something you have to be prepared to make quick, last second decisions to fix. I’ve lost thousands on a couple of days because of things that are beyond anyone’s control. Also, people on websites are so quick to condemn a film just after seeing a trailer, or the first five minutes. Someone writes the script, but then you have it go into production and the studio or director might decide to change scenes or things could get cut in the editing room. You hope you have good actors, audio, lighting, sound, the right score and a good editor. Any of these things could completely ruin a film. We had a lot of issues on the first Intrusion and it was basically like film school and a learning experience. So much got changed it took me six months to decide if I even liked it. After finally having our first screening and huge applause I calmed down a bit and enjoyed the film, despite the flaws. For Intrusion: Disconnected, I got about ninety-five percent of what I wanted and my director, Kyle Cates, and I was on the same page most of the time. That and having the tremendous cast and crew I did.

Q:  If you could go back in time to when you were an early filmmaker just starting out what advice would you give yourself?

A: Even if you’re just starting out and prepping to make a project start marketing yourself and growing a fan base. I’m still kicking myself for that to this day because I hate spending hours on social media and promoting constantly but that’s a big part of it. When I first started out I couldn’t get anyone to look at anything or give me the time of day. I had written a couple short stories and a novel and wasn’t really getting anywhere with them. I wrote Intrusion and went and got a loan. I ended up having to get two loans before I was able to shoot it. I hired a crew, found a cast and years later we’re getting rave reviews on this one and I’ve now written two features, produced three and worked on other projects, including one for Brad Pitt. Everything is a learning experience and networking. Once you start bumping into the same people at festivals they start to see your persistence and drive. That’s when they eventually want to work with you. People don’t become successful overnight and if you’ve actually made something that is a success, who if not everyone loves it. Somebody will always hate it. Making a film is without a doubt the hardest thing I’ve ever done. I completely respect everyone’s opinions, but most of the time when I see the really crude comments, I’m actually thinking they should go try to make a film themselves. It’s harder than they think. Even if I don’t like a film, my hat is off to those people for finishing it.

Q: What is more important to you as a filmmaker an overall atmosphere, or a series of individualized moments?

A: I basically treat my scripts like book chapters. I typically start by having an opening and know how the film is going to end. I think an ending is the most important part and with a lot of films I really feel let-down by the third act and the ending. I also think it’s hard to get it just right. I think atmosphere is extremely important as well, but a lot of films have great atmospheres and not enough intrigue to keep the story interesting. I also think there are times where you’re pushing for time on set with budget restraints and not everything works out. Some of that can be fixed and made into a better atmosphere during the editing process by leaving stuff on the cutting room floor and a great score to raise the tension. Sometimes, the best things happen during editing just experimenting and trying different things. I owe a lot of the atmosphere in this one to performances and the score that David Obaniyi composed. I thought he did an amazing job.

Q:  When having a killer or villain who is a constant threat, how do you think is the best way to communicate that to the audience?

 A: With the first Intrusion I really went for the normal guy next door. I originally was thinking about big and intimidating, but that’s been done to death. My wife and a friend actually said how serial killers don’t look like horror villains. They’re tall, skinny and look like the guy next door. I thought that was a lot more interesting to show this realistic version of a man and how he becomes a killer. With the sequel, it’s all about that grey line between good and evil. You have a heroine, Holly Jensen, played by Katie Stewart who is suffering from PTSD and mentally broken from the beginning of the film and the killer, Raymond Hummel, played by Lee Haycraft, now realizing his true nature and having this God-like complex. He’s much more calculated and manipulative in his actions. I think it’s scary that given the right circumstances something can send someone into madness and down that dark path. I wanted to tap into that more, along with some similarities between Holly and Raymond as people. In the original Intrusion, Raymond found out his girlfriend was cheating on him and killed her. Holly comes home and thinks that her boyfriend Peter is cheating for a moment. I did that on purpose. They’re both people with the circumstances they’re dealing with. The question is when given that hand, which path does the person take. I think that’s a lot more disturbing, the films that stick with you afterward and keep you thinking about things that make you uncomfortable. We all have this dark side. Most of us choose to be good people. The people that do not are definitely a threat.

Q: Future plans and sequel ideas?

A: Right now I’m actually in the process of revitalizing the book that I wrote years ago. It’s this love story that actually starts with tragedy in a small town with four characters surrounded by a lot of different dark issues in their lives. Not sure if it’s going to be a re-release since I own the rights again, or a possible film, but it’s something I’ll eventually put out there. I would love to do more projects with my cast and crew. They’re all extremely talented, but that’s going to depend on the success of Intrusion: Disconnected. I spent 25K on the first Intrusion and 80K on this one. I can’t do that again. If I get financing or funding for it I would love to keep doing this. I would love to do a creature-feature with Katie and Lee. Could be a lot of fun, but I love the drama genre. I definitely want to do something in that realm before going back into horror again. I have no plans to do a third Intrusion film but if a studio wanted to more with that world, I have a pitch for a T.V. Show that could be fun, but I doubt that will happen. I only did a sequel to Intrusion because we used it as a springboard for a more interesting, fresh idea. I think that’s the problem with sequels. If they’re made, they need some time to breathe and a better idea.

Q: How would you describe the state of modern horror?

A: I think the state of modern horror is great. It’s definitely thriving again both in a nostalgic way and with a lot of original films. A few years ago slashers started to disappear, and it was leaning more toward found footage and then a lot of paranormal films. Now, you seem to pretty much have your pick, and slashers are definitely on the rise again. Some people hate combining comedy with horror, but I think we have enough films coming out it’s great that everyone is trying to do something fresh with them. I just recently saw Spontaneous and thought it was brilliant. It was a love story about kids suddenly exploding, mixed with sci-fi, drama, horror and comedy and it worked perfectly. I think balancing different genres can be tricky and don’t always work, but I also think that it’s great people could make something and put any spin on it they want.

Q: If you ever won an Oscar who would you thank in your acceptance speech?

A: I would definitely thank my cast and crew. Without them, especially with this film, it wouldn’t have been possible. A couple of them went out of their way to make sure this was a reality. More than anyone though, I would thank my wife. I try hard not to bring my stress home with me when making a film, but that’s nearly impossible. She has been there from the beginning with me and picked me up a few times. I’ve also put her through Hell sometimes and things I still have a hard time forgiving myself for. We talked about having kids years ago and I put my career first and she gave up a lot of her dreams to let me achieve this and to let people see this. I had one day when I was on set out of state and she lost her mom. I had just seen her mom and they gave her about six months to live. My wife supported me to shoot the film because we were already prepped for it and everyone had cleared their schedules. During the shoot, got the phone call that she was going to pass away early after only weeks after we found out. I focused and was able to get through the shoot, but we took a break after that because I wasn’t there emotionally and even though my wife didn’t blame me it’s something I really hate myself for. I know her mom was asking for me minutes before she passed. That alone is heart-breaking and one of the many sacrifices I’ve made for people to be able to see this. Even when you achieve success it’s never this perfect way you imagine it. It comes with demons.

I hope you have enjoyed this interview, be sure to check out Intrusion: Disconnected now on Amazon Video and be sure to join me again for other interviews, features and reviews.


Sacrifice: The Truth About The American Tourist

Sacrifice is a horror film directed by Andy Collier and Toor Mian. The plot sees Issac (Ludovic Hughes), and his pregnant girlfriend Emma (Sophie Stevens), venture to a remote Norwegian island to collect an inheritance after Issacs’s Mum dies. However, once they get there they start to realise that there is something sinister afoot.

I will give this film props for two things. Firstly, it perfectly captures everything wrong with the American tourist, assuming everyone who is not from the USA doesn’t speak English and then talking slower and louder to them, whilst also thinking that non-American customs are freaky and are something to be feared. It is funny to see an American film tell it like it is, in some cases, rather than try and pretend they aren’t like that.

The second thing I will commend this film for is Barbara Crampton. She is the standout performer here, though that isn’t hard, and completely excels as the town sheriff/ cult leader. She has moments of threat and menace and also moments when you warm to her slightly.

However, other than Crampton and honesty, this film has little else going for it and is bad. The film is painfully dull, and a lot of the runtime is devoted to just watching the main couple argue, and it goes on and on. When we aren’t being subjected to needlessly petty domestic squabbles, we are treated to a forced elder gods Lovecraft rip off storyline that feels like it comes out of nowhere and then ends abruptly.

Overall, don’t waste your time, let me waste my time for you. This film is poor, the same exact idea has been done before and has been done far, far better.


The truth about the American tourist

Barbara Crampton


It is dull

It is just a couple arguing for most of the runtime

The elder gods/ monster stuff just comes out of nowhere and is no way developed

It is not scary in anyway


Reviewed by Luke