Here Comes Hell

But once the seance goes wrong it changes gears fast. And this is what makes Here Comes Hell work where others have failed. It fully embraces modern horror and gore. It also gives us female leads who do more than scream and faint. Rather than try to make a 1930s film in a modern era it takes a 1930s plot and brings it into the present.

During the inaugural episode of Joseph Gordon-Levitt's Creative Processing podcast, Rian Johnson talked about originality in films and whether wearing the film's inspirations on its sleeves affects the value of the film itself. While some movies do lose themselves in the things they're trying to pay homage to or parody, sometimes you get a brilliant film that not only reminds you of other films, but is made with such passion that you find lose yourself within the story that is being told, no matter if you've seen part of it before. Jack McHenry's Here Comes Hell is one of those films.What happens when you take the humor and snappy dialogue of Clue, the love for schlock of William Castle, and the special effects and gore of Evil Dead, mix them all together and serve in a bowl of 1930s British dinner party movies You get one of the most impressive feature debuts of the year as well as one of the most fun \"what-ifs\" imaginable.It begins like many genre films of the time did, including many of William Castle's films, with a host telling the audience that the picture they're about to see is not for the faint of heart, before the curtain rises and we're transported back in time to a fantastic recreation of early horror films of the '30s. The whole movie is shot in black and white and in the Academy ratio, with static images for the exterior shots and even rear projection for scenes in vehicles. McHenry spends so much time and effort establishing the time period gimmick that if it wasn't for the sense of humor and the very '80s-inspired gore and special effects, Here Comes Hell could easily be mistaken for a film made in the early years of \"talkies\". But before we get to the blood and gore, we're introduced to an array of characters and future victims of misfortune. There's Elizabeth (Jessica Webber), a solicitor's secretary who is way out of her comfort zone when her newfound boyfriend, a rich young man named Freddie (Timothy Renouf), takes her to a mansion to meet some old friends of his. Among those friends is Christine (Margaret Clunie) a ruthless socialite who still has a thing for Freddie, her former fiancé George (Tom Bailey), the son of a wealthy oil tycoon from Texas, and also Christine's brother who also plays host to the group (Jasper Britton). Honestly, the film could have just been about the entire group trying not to have sex with one another before killing each other and it would have still been good. But then the group decides to have a séance and, in the process, accidentally open a gateway to Hell, so past grievances will have to wait because there may be more than just a couple of spirits that will try to do them harm.Rory McHenry's efforts to recreate the filmmaking style of the '30s black and white films on digital are impressive, even if at times the film looks a bit too clean and modern, especially when it comes to the use of a handheld camera. The score is ominously haunting, with Tom Bailey directing a string quartet (plus a bassoonist) that accentuates the old-timey horror. But make no mistake: this is a parody, one that clearly loves the movies and tropes it is making fun of, while presenting those tropes in a bold new way.When it comes to the horror, the film's shoestring budget limits what McHenry is able to bring to the screen, relying on a few lines of fake blood and contact lenses to simulate a demonic possession. That being said, the movie also does a wonderful job combining the special effects from '30s movies with the schlocky gore of '80s movies like Evil Dead. There's body horror, a man with worms instead of eyes, literal buckets of blood, and even some stop-motion animation that would make Ray Harryhausen proud. Here Comes Hell may not win any makeup effects awards, but the things the team is able to do with such a low budget, and do them so effectively, is charming enough to make you forgive their limitations.The performances are all spot-on, capturing the over-the-top theatricality of '30s performances, while also playing fully on the comedic. Particularly great are Margaret Clunie as the despicable Christine, whilst Jessica Webber's humble secretary Elizabeth easily becomes this film's version of Ash Williams. Webber brings a humanity to the film that manages to bring down the supernatural at times, while also becoming a sword-wielding badass when the need arises.Though it doesn't have the budget or the genius of Sam Raimi, the love for cinema at display reminds of One Cut of the Dead, and like the Japanese sensation, Here Comes Hell movie will instantly win over your heart by reminding you of why movies are so special in the first place./Film Rating: 8.5 out of 10

With horror, you can be as fantastical as you like, you can break all the rules. We were always up against it but we were always keen to make sure that we had enough money to deliver the horror moments. Most of the effects are practical, which was important. I wanted to get the main bits in-camera so we went to a load of pound shops at Halloween to get everything we needed, and I built the models in my bedroom. There was a lot of gaffer tape involved!

Absolutely delightful. In a sea of try-hard horror comedies with lazy scripts and frequently zombies over the past few years, this micro-budget not-80's throwback is a breath of fresh air. Small cast, intimate moody setting, and a lot of atypical aesthetic. There's a spirit of Bad Taste-era Peter Jackson and, as everyone else has already said, Evil Dead.

Best described as The Old Dark House meets The Evil Dead, the stylish horror-comedy is an homage to classic horror, with a bloody twist. Filmed in black and white, Here Comes Hell follows the plight of a group of 1930s socialites attending a dinner party in a dilapidated mansion. Bloody mayhem ensues when their host coerces them into performing a séance, accidentally opening the gates of hell.

Packed with extras, including commentary from Sam Ashurst (Arrow Video Podcast) and a revealing behind the scenes documentary, the beautifully-packaged Limited Edition DVD is available exclusively on the Hex Studios website hexmedia.tv, where you can pre-order now, in advance of its December release.

Best described as The Old Dark House meets The Evil Dead, the stylish horror-comedy is an homage to classic horror, with a bloody twist. Filmed in black and white, HERE COMES HELL follows the plight of a group of 1930s socialites attending a dinner party in a dilapidated mansion. Bloody mayhem ensues when their host coerces them into performing a séance, accidentally opening the gates of hell.

Wait a minute, Weir. The equations will give you different results for voltage and power. In one you are multiplying by 10 and in the other one by 20. Nope, same numbers. Remember, you are dealing with the log function on your calculator, which involved the ratio of either voltage or power to 10x where x is either the voltage or power ratio. And since voltage is equal to (P*R) and power is equal to (V/R), somehow you have to take care of the exponent (1/2 or 2) between these two. That is easily done by multiplying the log by 10 or 20, depending on which way you are going.

It's the 1930s and group of old acquaintances are invited to a spooky, dilapidated country pile for a dinner party where everything goes to hell. Comedy horror, starring Tom Bailey, Maureen Bennett and Alfred Bradley

Hope you all had a restful and delicious Turkeyday, my fellow TV fans! Unfortunately, national holiday = repeats and recaps, but there was a tiny bit of new television to cling onto this past week. Okay, basically one show. I still need to check out your suggestions as well (my parents' house is TV-free -- I KNOW -- so I haven't have a chance to catch up). Let's dig in!As soon as the main group on The Walking Dead decided to leave their campground for the Center for Disease Control, I got a sinking feeling that Glenn and his wily Atlanta street smarts (um, since when is a pizza delivery guy so intimate with narrow alleyways I'm fine with it though, eh) might not be so critical anymore. So it was nice to see Glenn survive another episode and have a brief moment of real emotion when he angrily and passionately declared that (grossness alert for the squeamish) zombie corpses are burned, human ones are buried. This episode largely focused on where one draws the line between human/nonhuman and safety/paranoia, and I liked seeing the depth of Glenn's conviction on the subject. Man do I hope they're not setting me up for a really sad death scene later on...!

The first thing that strikes viewers about the contestant is his thick accent -- it's so thick, in fact, that everything he says must be subtitled. Somewhat strangely, Calvin is one of four foreign-born, accented contestants whose words have been deemed too unintelligible to air without subtitles, not to mention the accent heavy enough to delay traffic on host Iman (don't worry, every syllable she utters is so enunciated and accentuated that there's no mistaking what the Somali American supermodel is caustically spitting out -- who's she so angry at). Calvin's grasp of English appears to be the weakest of everyone's; semi-nonsensical phrases like \"Oh, here go hell come\" have brought him to the attention of The Soup and YouTube. But are we laughing at his twisted English, o