The friendly neighborhood killer just did Lia a very special favor…
Would you recognize a serial killer if you talked to one every day? Artist Lia Anderson doesn't. Neither do her friends at the Mount Airy Dog Park. The apparent suicide of Lia’s deadbeat boyfriend brings Detective Peter Dourson into the tight-knit group and he's convinced someone is not who they seem. As his investigation uncovers secrets, a grieving Lia fights her growing attraction to the laid-back detective. Meanwhile, a killer lurks, desperate to stay ahead of the investigation—no matter who has to die…
If you like believable characters, a multi-layered plot, and a compelling sense of humor with your intrigue, download this can't-put-down whodunit for a romp through the dog park with Lia and the gang.
Don't be fooled that this is a story about canines solving murders. No; this is a well crafted and structured mystery whodunnit novel, which I wasn't expecting after I read the blurb on Amazon. Boy, was I happy to be surprised(?)
I usually don't choose a book if I don't like the opening sentence, then the opening paragraph, as I believe this should give the reader an insight into the story they are holding. To be honest, I did pick the book for the silly cover and the possibility that the story might raise a smile or two... and hopefully a laugh. Just recently I've been in serious need of both, so I clicked on the novel's cover on my Kindle...
It was the prologue that gave me the insight the novel may be just a little bit darker than I was expecting as it's the psychopath's viewpoint and the reason behind a previous killing. This was a wise and daring move by C A Newsome as it adds a deeper element to the story. In fact, without this reoccurring ingredient, the story would have been a lot weaker.
However, Carol Ann Newsome's lighthearted style of writing helps to keep the reader interested and reading at a steady pace. As the story progresses she grows and enriches the characters making them more realistic and believable. To this outcome, I really liked how she gives the reader expanded details of the work which her main character, Lia Anderson, undertakes. As a son of an artist, this brought me into the story a little more and I could relate a bit more to Lia... as well as giving me a sense of warmth and happiness at remembering my father - Thank you.
Even though this is categorised as a Lia Anderson Dog Park Mystery I loved how Newsome left the detective work to the detectives. Lia doesn't become an amateur sleuth being helped by her wonder dogs. The dogs are only secondary to the story, they add a realistic and relatable element... and yes at times you may find yourself "Ahhh"ing. As for the Dog Park itself, this is where the murder is committed and therefore all of its patrons are potential suspects and witnesses.
I must admit I didn't like the opening paragraphs of the story as they felt a little trite and the flow was slow and awkward, as she introduced Lia to her readers. This, however, is short lived as by the time you reach the next part of the chapter Newsome has found her footing. The climax of the story feels rushed, though this could be because of the previous space which encompasses the rest of the novel and I'd grown used to. Plus in real life, things have a way of creeping up on you and then exploding so fast they appear to have happened in mere seconds. However, it would have been nice had Newsome slowed down the pace to build tension and suspense which I think the scene needed, instead of speeding it up to build excitement.
Then there's the conclusion which quite a few people didn't like... Once again, for me, it added another sense of reality and I wasn't disappointed by it at all. To the contrary, I applaud Newsome for making the decision to go this route.
I would gladly recommend this book to everybody who likes murder mystery whodunits. Though be forewarned you may not agree with or like the conclusion of this story.
Romatt Releasing / Anchor Bay Entertainment / Blue Underground
3.75 / 10
This is another dire film that could have been much better as the story has a good premise.
Dr Herbert Lyutak is a doctor of psychology and he is suffering from shell-shock after he returns from the war. While suffering from this psychological ailment he kills a woman he's given a lift too as she's rejected his sexual advances, though his mind blanks out the incident. As time passes he gets glimpses of the murder and informs the police of his visions. They, in turn, start to suspect that something isn't quite right with the good doctor. As we progress through the movie we get an insight into his newly formed sexual deviations and his wife's' ability to conform to them because of her love for him. There are a few twists and turns though it's the last twist which really makes this a "Throw-away" movie.
Unfortunately, it's the unbelievably appalling acting, especially from the lead actors, and the abysmally bad writing along with awful direction and cutting that really kills this film.
Mickey Hargitay (Dr Herbert Lyutak) acting skills come straight out of the redwood forests. There are actually times you think a makeup artist will come on with a sander as a puppeteer appears to move him into his next position. His wife, Marcia Lyutak, played by Rita Calderoni, is so over-the-top that it passes from amusing into dreadful.
The pace is all over the place and there are some scenes that appear to have been thrown in just to titillate, especially the light S&M and lesbian scene as there's no sense or reason for them being in that section of the film. The lesbian scene is also one of the longest segments in the film. This is a shame as the opening sequence, the pickup and murder of the girls is done really well - nicely shot and thought out. I thought I was going to be watching a respectable movie... boy was I wrong.
I wouldn't recommend this to anyone, not even fans of Italian Gallo as there are much better examples of it out there to watch.
When your life is built on a mountain of lies, the truth can be fatal.
Pinned by a rock slide while conducting an environmental impact study in British Columbia’s Coast Mountains, Mia Blackmore figures karma has finally caught up to her. Actually, she’s surprised she got away with her crime this long.
When a rough-looking man with a French-Canadian accent nearly steps on her head, rescue seems just a fingertip away—then the slope shifts again, sending them both hurtling down the mountain.
The slide may have freed the auburn-haired woman, but undercover cop Hudson McClure still needs to keep her safe from the thugs who think he’s one of their own. The gang isn’t going to give up looking for their downed helicopter full of drugs. And, as it turns out, Mia and her decidedly wolfish dog, Neville, are his best shot getting to the crash first.
Mia’s descent into Hudson’s dangerous world is like a landslide she is powerless to stop. Though her talent staying cool under pressure exceeds even Hudson’s own, there’s a hunted look in her evergreen eyes that warns him she’s hiding something—or from something. He just never anticipated her secrets could decide whether they get off the mountain alive…or in body bags.
Film Ventures International / G T O Films Ltd / Cinefear / Arrow Film Distributors Ltd.
5.5 / 10
This is a dark psychological thriller about the consequences of child abuse. Donny Kohler is a man who is growing increasingly detached from his life. One day, while he's at work he witnesses an accident which causes one of his work colleagues to catch on fire. While the rest of the workforce rush about trying to help the man Donny stands transfixed and spellbound by the sight.
It brings back to him the memories of his mother's retribution for misbehaviour, where she would hold his hands and arms above the open flame of the kitchen hob. This triggers his psychosis, flames cleanse the sins of man... and woman.
Kohler played admirably well by Dan Grimaldi - who is very good at making this psychopathic killer appear as normal - then sets out on his mission of cleansing his town. The most chilling part of this film isn't the killing or the portrayal of Kohler, but the killing room. Kohler covers the walls, floor and ceiling in sheet metal and adds a meat hook in the centre of the room, from which to hang his prey. It's the idea that he's thought this through to this extent so as not to burn down his house that makes it a very creepy and chilling issue and adds a deep psychological darkness to the character.
However, there are issues with the story, especially in correspondence with Kohler's character. There are some scenes that don't quite gel with his personality. And some of the directing could have been better. The scene when Kohler goes out with his friend and ends up attacking his date is well thought out story-wise; however, it could have been acted and directed much better There is a few scene's like this.
The director, Joseph Ellison, who co-scripted the story with writer Joe Masefield and Ellen Hammill, does create a good film with a variable pace and flow, which helps to create atmosphere and keep the viewers interested. However, I feel he could have done more to bring it above average.
The acting is okay though nobody shines through or dominates the film. This is a shame because I think if Dan Grimaldi was a little stronger in his craft it would have made the film a hell of a lot scarier,
Overall, the film suffers from averageness, though it is worth at least one watch. This is a film I would love to see remade, though adding a stronger cast and director, as I believe the story could make a classic film. I would gladly recommend the film to anybody who likes darker psychological thrillers and isn't too distressed by graphic and gory scenes. This left a chill in my bones and I will be watching the film again.
Dania Film / Medusa Distribuzione / National Cinematografica
Indie Rights / Replay Video / Grindhouse Releasing / Image Entertainment
3.75 / 10
This is an atrociously dire film in every way. The only silver lining was the premise of the story where three student anthropologists enter the Columbian jungles with the naive aim of disproving cannibalism. They come across a couple of adventures who claim to have escaped from a cannibal tribe after they had devoured their colleague. It's the twist in the story that could have saved this film had it been correctly explored and utilised. This, however, isn't the case and there just isn't anything else that makes this a film to watch.
Other reviews state the film is so bad that it unintentionally makes you laugh... that wasn't my case. What writer and director Umberto Lenzi gives his viewers is a lesson in the banal, boring, and tedious.
From the previously mentioned wasted story issue to the under-acted, over-acted, and wooden performances of the cast to the uninteresting and dreary direction to the worst and insipid locations available, this is a bad film.
However, there are a few issues which did earn it the rating I gave. I did like the twist in the tale which wasn't fully envisioned. There were actual moments when the cast got serious and wasn't too bad in their roles. Even Giovanni Lombardo Radice, who was mostly ludicrously over-the-top, actually had a couple of moments where he was menacing and believable. Then there was the glorious gorefest of the special effects, though these are expected to be bad, they never fail to entertain; the scene of the penis extraction brought a wince to my face. However, even the effects aren't without their errors. The way they are filmed is so matter-of-fact that they lose their shock value.
Then, of course, there's the animal cruelty as you are witness to the killing of a turtle and a wild boar. I do hope these animals were to be used as sustenance and were subsequently eaten. I must admit to not liking the thought of them being killed and then discarded for entertainment's sake, as these scenes were not required for the story.
This is not the best cannibal film:
For the best story and acting, watch Cannibal Holocaust
For an interesting twist on the genre, better story and acting, try Cannibal Apocalypse
For the best jungle location, I suggest you watch The Man From Deep River
Though, I will say I do not find the cannibal genre that interesting and even though these are better than Ferox they're still not brilliant.
Third Street Pictures / RCR Media Group / Andale Pictures / Lightning Entertainment / Stage 6 Films / Vertigo Entertainment
Sony Pictures Home Entertainment
6.50 / 10
This film is a rare creature indeed - A sequel that's better than the original. Let me just state it's a sequel to a bad American adaptation of a Spanish film [REC]. I am a fan of the Spanish movies but I have to give respect and credit to writer and director John Pogue for not giving the audience another weak version. Instead of going the religious route of [REC] 2 , Terminal escalates the fear of terrorist attack with a man-made killer virus. This alteration gives both films a more solid footing in reality and puts it into the thriller genre instead of horror.
Once again the action takes place in the tight confines of a restricted location. This time we are placed in a small aeroplane then we move to the baggage handling section of the terminal. These settings give the audience the feelings of claustrophobia and the threat of being trapped with no escape, especially in the plane.
Pogue does a good job of creating an atmosphere of tension and anguish that keeps the viewers entertained and interested. Where this film starts to falter is in the last third. The story goes out the door as people just run about screaming and killing. The action isn't great and the use of speeding up the film is atrocious and reduces the films strength. To be honest, I cannot explain why this is the case as Pogue does well with the action in the earlier action scenes - the shot of the thundering unstoppable mass of a man barrelling down the aisle of the plane is a great shot and well executed. He is also adept at controlling the flow and pace of the story and interweaving the various atmospheres.
Another thing that suffers at the same stage is the acting and characterisations. On the whole, the performances are above average but when the mayhem breaks out the skills disappear. It is actually the last section of this film which reduces the rating. For example, the opening sequence where we're introduced to the stewardesses and the pilots it a solidly realistic and interesting scene, which even introduces a thread of tenseness: Whereas, towards the end of the film there's a scene where two characters are on their way to possible freedom when they have to face the possibility that one of them is infected; a previously strong and logical character is suddenly overly emotional and illogical. This sudden flick-of-the-switch change once again diminishes the film's potency.
This is a well crafted, acted, and filmed story. It's well worth a watch, especially if you enjoyed the American version of [REC]; it even works as a stand-alone as there are references to what happened in the previous movie as this story is set in the same timeline. Remember: If you're a fan of the Spanish movies then you have to realise this has nothing to do with them and follows a different and alternate storyline. Though I won't watch the original Quarantine again I may watch this once more... even though it may be in another ten years.
The film that brought Timothy Hutton to my attention was The Dark Half. It was his skill at playing both writer and psychological killer which kept my attention. It's because of this performance that I watched this and his performance here, as the detective chasing a serial killer, pretty much carries the film.
This turns out to be a similar premise to the Stephen King story in the fact that there are twins; one is a man struggling to cope with his life and his brother, a psychotic serial killer. Unfortunately, Hutton is not playing that role. Miguel Angel Silvestre plays the brothers Marco and Roberto. This is not a spoiler as this isn't a major plot issue, and is revealed in the first section of the movie. Writers Darby Parker and Jay Beattie should have used this to at least create a little mystery, tension, and suspense, which would have made the film much better. Though the film really suffers from Silvestre's under-acting and woodenness. Each time he spoke all I could see was Jean-Claude Van Damme as he sounds exactly like him. Even JCVD would've added a bit more panache and power; also the fight scene's would have looked more realistic.
This is a "Columbo" style story. You're told who the killer is early on and then the story centres on the detective's chase and apprehension of the criminal. I much prefer the "Miss Marple" whodunnit murder mystery as it has the ability to bring the viewer into the story more.
Another issue with the film is the number of secondary cast members there are. This is detrimental to the film as it draws the story and the viewer away from the heart and vitality of the story. There's one scene that should have been critical to Timothy Hutton's character, Tom as he comes face to face with the death of his love. However, due to the story being stuffed to overflowing with superfluous scenes and characters we never get the time to relate fully to this pair's relationship so we don't feel Tom's loss and anger at that scene.
That said, the rest of the cast are pretty good in their portrayals of their characters. Director Bryan Goeres keeps the tempo of the film to an average pace. Once again, I think he could have infused a little suspense and tension by fluctuating the pace accordingly. If it wasn't for Hutton and the hope for a twist in the ending, as my imagination had conjured up a few, I would've hit the off button.
Then, when the twist comes, it's the obvious one. Boy did I feel let down, not just because the twist was the most obvious but because the story which led to it could have been improved by better showing the progression to the twist.
If you like Timothy Hutton or "Columbo" style movies then you may like this but don't expect too much from it. Otherwise, I would say, stay away.
Cartel Pictures / MarVista Entertainment / The Cartel
Tugg / Lifetime Television / MarVista Entertainment
6.50 / 10
This is a well thought out tech based mystery thriller. Anna, played by Anna Hutchison, is a loner with very little social life and no lover. Her sister Sasha, portrayed by Karissa Lee Staples, repeatedly tells her this isn't good for her, so one night she creates a "Swipe" profile for her. Swipe is an app that shares your profile with other users with the intention of meeting up. If you like a certain user you swipe right and if they do the same then when you are in each other's vicinity you both get a message saying they're close. Unfortunately for Anna, it's an ideal tool for a stalker to strike fear into their prey.
What makes this so good is the realness of the story. You could quite easily see something like this happening. Add in numerous swipes and your victim list keeps growing. How can we be really sure that the profile and the picture you see is for a real person and not a created persona? Just think Ted Bundy for the Tech-Age.
Writers Sophie Tilson and Shanrah Wakefield do a great job of showing the dangers of this kind of communication and contact. They bring through a plethora of men, all of which are different, some are sexual predators, some are persistent to the point of bullying, and some are okay. But which is stalking Anna? There are twists upon twists as her investigation and the police's starts ruling out suspects.
Director Mathew Leutwyler uses these twists and turns as well as the apps distance notification to create a tense atmosphere. However, I believe the movie could have been stronger had the pace been more varied and some better camerawork, something other than the straightforward point shoot and pan.
Though Anna Hutchison is the lead and is very good in the role it's Karissa Lee Staples who is the strongest actress in the movie and had a wider range of emotion and skills. Unfortunately, the lower you get in the cast the worse the acting gets. It's not a bad thing to do when working on a budget and the worst is only on for a few minutes or seconds, though if you remember them as I did, it only leads to weakening the film.
On the whole, this is a respectable and watchable movie. If you enjoy mysteries then this will be right up your street. If you're looking for an intriguing and interesting movie to watch then you might want to consider this one.
Cinematic Releasing Corporation / DCS Video Screams / Fright Video / Vinigar Syndrome
6.5 / 10
This film isn't as bad as it should be. Let me explain, the concept is that after serving a sentence in prison for drug related crimes Roger Watkins has had an epiphany. Kill people for fame and money. To do this he will make snuff movies with the help of his friends. Then for it to be told from the miscreant's point of view is a horrifying idea.
However, writer, director, and actor, Terry Hawkins does not turn this into an exploitation film or glorify or condone the horror's portrayed within. What he gives his viewers is a psychological chiller, which is heavy on the chills. Hawkins actually makes the audience think and reflect on the nature of the participants of the crimes committed. I came away feeling mentally cold and more than a little sickened, which is a pretty hard thing to do as I have a strong stomach. This emotion is a good thing though as I believe it was the aim of the filmmaker. This is thought-provoking entertainment and not a happy and joyful performance; you should not come away from this movie feeling cheerful. It should make the audience at least start to wonder how dark the thoughts within mankind are. How far would one go to make money(?) Or to be the person they are under their "Normal-World" mask?
The original title when the film was released in 1974 was The Fun House and there are rumours of the BBFC getting it wrong by banning the wrong Funhouse by choosing Tobe Hooper's film of that name from 1981 - see my review here. When it was rereleased in 1977 to larger audiences somebody had the idea to use Wes Craven's success with The Last House On The Left to rename it to the present title.
I liked the way Hawkins builds up to the story. The movie starts out slow as he paints the picture of Roger Watkins', his dream, the recruitment of his friends, and the choice of his victims. Then when the killings start he takes his time to pull all the tension and disgust out of his viewers with some very nasty and graphic images. The special effects team, as well as the lighting crew and cameramen, do a magnificent job of making all of this feel and appear realistic. I've seen some pretty nasty horrific special effects, though this is one of the few that has stayed with me.
There's also the concept of what's next(?) In this film, Hawkins asks the question of the porn business. When people have become used to and complacent with the normal sex acts and even S&M is becoming run-of-the-mill then what's the next big thing(?) To some extent, this is still evident today on the internet, so this notion and opinion are still viable today, especially when you get psychopaths posting animal cruelty videos online.
Hawkins is also a pretty good director and though it feels like it's been shot on a handheld 8mm there are some good camera angles and iconic shots which also add strength to the movie. The use of imagery, particularly the use of Greek masks adds a nice eeriness. Apart from the unrelenting depravity, the only thing which makes this film a little grating is the acting which is below average, though to be fair, most of the actors are students.
Would I recommend this to anyone? Yes: To anyone looking to create horrific imagary, either for a horror or a thriller film then watch this movie... this is how it should be done, this is the kind of atmosphere you should be looking to create. The same can be said of directors who are working on a budget. If you're a film fan and have a strong constitution and enjoy thought-provoking movies then this could be for you, but don't think you'll be a happy bunny at the end of watching it.
Universal Pictures / Arrow Films / MCA/Universal Home Video
6.25 / 10
This film goes to show how stringent the English film board was back in the eighties as this got an X certificate on release and then ended up banned... and now in its UNCUT version, it rates a 15 certificate.
To be truthful though, after watching - and still viewing - films on the video nasties list I cannot understand why or how this film achieved a banned status. In Tobe Hooper's other banned film Eaten Alive there are scene's of torture and animal cruelty, whereas in Funhouse there's nothing along these lines. In fact, this is pretty standard fayre in the slasher mould. There are rumours of the BBFC getting the certification wrong by choosing the wrong Funhouse to ban. In 1977 there was a film released called The Last House On Dead End Street, which was nasty enough to make the list, though didn't, and had previously been released in 1972 as The Fun House - see my review here.
You have a deformed man who is unable to find love due to his looks and personality buying sexual favours from the carnival's fortune teller. Unfortunately, for her, he finishes prematurely and when she demands money for services rendered he gets upset... and she gets dead. This interlude is viewed by four teenagers who thought it would be fun to hide out in the ghost train. Of course, one of them makes a noise and draws the attention of the deformed killer who must dispatch them to keep his secret safe.
Though the concept is good its development onto film is strained. As most of the action takes place in a limited area Tobe Hooper should have tried to develop a tension of claustrophobia as our witnesses find it increasingly difficult to escape the funhouse. However, the carny ride appears massive and unending - could it be a Gallifreyan Time Machine(?) For me, there wasn't enough tension or excitement and at times I found my attention drifting.
The actors are above average and cope well with building their characters and making them realistic, though none of them stands out above the others. It would have been nice to have been introduced to some of the major characters back stories and more personal insights so the viewers could relate to them a little more. This would make their murders more emotionally stronger and bring the viewer into the story more.
There is one brilliant thing about this film and the writer, Lawrence Block, and the director should have tried to work it into the story more as it would have added more depth, mystery, and paranormal atmospheres if done correctly. At each of the carnival's rides and shows, there's a barker shouting the attractions merits to entice the people in. Though the barkers are constantly at their positions and could not be the same person, each one is played by Kevin Conway. This is a subtle thing that when spotted adds a mysterious element to the story, which is then completely ignored. It's like somebody had an idea but couldn't come up with a suitable resolution to it.
This is not a bad film, by any means, it's just average; one of those films you'd watch if you'd not seen it before and there was nothing else on. Worth watching at least once. Not Tobe Hoopers best film and not his worst.
M & M / Dark Sky Films / Video Instant Picture Company
7.5 / 10
I've never been a great fan of Tobe Hooper's (I find him pretty average, though I do like quite a few of the movies he's shot) so I was happily surprised to find this was a treat to watch. The thing which I was unprepared for was the stylish way that Hooper directed the movie, full of vivid and startling reds and blues. Not the usual fair for Hooper though it does add an extra element to the atmosphere of the movie, as did the constant twangy country soundtrack about the most depressing things in life.
The story about a Motel owner and his crocodile. Though, it's never stated you get the feeling that Motel owner Judd may be a veteran whose seen more than his fair share of action and has returned shell-shocked and schizophrenic, as some of his rantings have this impression. Either way, this man is mentally broken. When a runaway girl takes a room for the night he get's the idea that she's a hooker who worked at Miss Hattie's place and he doesn't like those types of girls. She ends up being the entree for the crocodile who will be well fed before the end of the night.
There's not much to the story and it all takes place in or around the motel, what makes this a really watchable film is the characterisations and the actors and actresses who portray them. In particular, Neville Brand who does a brilliant job with Judd from mannerisms to ticks to different personalities when the voices start speaking to him. He was the right choice for this role and very strong within it. Another strong actress is the beautiful Carolyn Jones (of King Creole and The Addams Family fame), though it's really hard to make her out as Miss Hattie. To be honest, the cast is pretty top-notch and has the likes of a young Robert England, Mel Ferrer, and Stuart Whitman.
However, there is one family that turn up at the motel and the dynamic between the mother and father is damn strange, in fact, the father's personality is downright weird. This does deter from the power of the film and it's characters, to the point of severing the link of believability with the audience.
Overall though this is a film that I would recommend to everybody who likes a good psychological thriller. It is definitely one to watch with the curtains drawn and the lights turned off.
It's the story which makes this a little gem of a film. Three college students are on their way to a concert when they take a wrong turn and crash the car due to bad weather. Luckily for them, a handyman finds them and takes them to a nearby house where he does odd jobs. The doctor authorises them to stay in the house for a few days to rest, especially since one of them has a suspected concussion. However, things are not so black and white in the house. The relationship between Mother and Daughter is strained, due to the Mother's opinion on men. Is there someone else in the house? Are they watching the girls?
The writers Reagan Ramsey and Don Gronquist (who also directed) do a great job in building the story slowly creating an uneasiness and unsureness about the house and its occupants. You're never quite sure what is really going on or who is behind it. Gronquist does an okay job when he dons his directorial hat, though the pace is a little slow, even in exciting moments, and there are times when more action or drama is required so as not to bore the viewers. It would have been a little better if Gronquist could have injected a bit more tension and eeriness into the film and the surroundings.
The lead role, Terry Morgan (played by Laural Munson), is a little wooden and sometimes the pauses in her conversations is a little too long so that you think she could be reading off of cards. The best actress by far is Virginia Settle who portrays the bitter and twisted matriarch, Mrs Penrose; she gives a strong and believable depiction and helps to make this film better.
The other thing which makes this movie one to watch is the twist at the climax, you know roughly what's coming though Ramsey and Gronquist add an extra twist to throw the viewer slightly off the mark. This is a film worth watching at least once, especially if you like mysteries and thrillers as this ticks the boxes, though you will need to like the slow and less action-packed style.
This film is crying out for a remake and with today's special effects it could really make this as special as it should be. Though it's the story that writer and director Ovidio G Assonitis along with writers Stephen Blakely, Roberto Gandus, and Peter Shepherd crafted which needs better representation than this film was given, surprisingly enough from Assonitis, who's direction especially at the end turns this into a nearly unwatchable farce instead of a horrific psychological thriller.
This is the tale of twin sisters, Julia who is played by Trish Everly (The Good Sister) and Mary Sullivan played by Allison Biggers (The Bad Sister). During their childhood, it was Mary who was the dominant sibling and tormented, teased, and tortured Julia whenever she could. This behaviour sent Mary to the psychiatric hospital where Julia chose to forget about her. After developing a severe skin disease Mary asks to see her twin and Julia grudgingly agrees, after some cajoling from their Uncle, Father James. The meeting goes as expected with Mary getting angry and attacking her sister while cursing her that she'll make her sorry. After she escapes the institution she and her faithful pet Doberman start to invite Julia's friends to their birthday party... by killing them.
When the climax arrives and everything is revealed you will need to hold onto your sanity and accept the unbelievable in the incredulity of a twist which was only manufactured to shock. Though for spoiler reason's, I cannot say what this is, you won't and cannot miss it. If this twist had been written and filmed better than it would have made an otherwise okay and average movie better... and not worse, as it did.
The acting is pretty standard and average until you get to the finale then you enter the lunatic and stupid, which I will put down to Assonitis' direction. Though I think Dennis Robertson as Father James should have won an Oscar for the "Most-Over-The-Top Acting Role In A Movie... EVER!" It is really gleefully bad.
Assonitis also has trouble with pacing the film and this gives the work a disjointed feeling.
However, the evil Doberman is the best thing in the film and some of the attack scenes are even better as they used a real dog as well as a prop set of jaws (which can look a little awful).
I would only recommend this film to lovers of bad B-Movies but be warned you do need to stay to the finale to see the best scene.
![A Shot in the Bark: A Dog Park Mystery (Lia Anderson Dog Park Mysteries Book 1) by [Newsome, C. A.]](https://images-eu.ssl-images-amazon.com/images/I/51zYdzEL9jL.jpg)
The friendly neighborhood killer just did Lia a very special favor…
![Mountain of Lies (The Pack Book 1) by [Evans, Jayne]](https://images-eu.ssl-images-amazon.com/images/I/514srBA9%2BjL.jpg)
