Shaitani Ilaaka – “Devil’s Domain” – is a 1990 Indian Hindi horror feature film directed by Kiran Ramsay (Aakhri Cheekh; producer of Darwaza) from a screenplay by J. K. Ahuja. The movie stars Deepak Parashar, Sri Pradha, Kanwaljit Singh, Neelam Mehra and Surendra Pal.
A brougham stops in a dark forest and its cowled driver, Lalbai the sorceress, beckons to the passenger, a newlywed bride. Lalbai leads the bride to the Shaitani Ilaaka (devil’s domain), where she is roused from her spell. The bride is sacrificed at the altar of Shaitan, an ancient and fearsome demon.
Years ago, he roamed free and indiscriminately terrorised the local townsfolk. But he was ultimately defeated, reduced to a formless soul, and held, by a magic charm, to remain imprisoned forever within the Shaitani Ilaaka (“Devil’s Domain”). Lalbai brings him a fresh bride every Amavasya night. Shaitan consumes the blood of this bride, and grows stronger with each offering, until he can break the charm, restore all his evil powers and ravage the world again…
Shaitani Ilaaka was released in India on 13 April 1990.
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Candyman: Farewell to the Flesh is a 1995 American supernatural horror feature film directed by Bill Condon (The Twilight Saga: Breaking Dawn: Part 1 and 2; Gods and Monsters; Sister, Sister) from a screenplay by Rand Ravich and Mark Kruger.
The movie is a sequel to the 1992 horror classic Candyman, an adaptation of the Clive Barker short story “The Forbidden”. The Propaganda Films production stars Tony Todd, Kelly Rowan, William O’Leary, Bill Nunn, Matt Clark and Veronica Cartwright.
The father of New Orleans schoolteacher Annie Tarrant (Kelly Rowan) was murdered in a Candyman-like fashion some years prior.
When Professor Philip Purcell is murdered in a bathroom by Candyman after presenting the legend at a book signing and calling him forth, Annie’s brother is accused of the murder (since his furious public confrontation of Purcell over the subject) and one of her students starts to see the Candyman.
In order to disprove to herself that the Candyman exists, she says his name five times in front of a mirror, summoning him to New Orleans on the eve of Mardi Gras, where the killings begin in earnest…
“The deliberate pacing of the first movie is tossed out the window this second time around for a whole lot of jump scares and unnecessary (and sometimes remarkably ineffective) red herrings, and that’s a shame, but despite this Candyman: Farewell to the Flesh is entertaining enough if more often than not fairly superficial. ” Ian Jane, DVD Talk
“With lots of pointless (get it?) gore-strewn impaling capped by an unaffecting climax/flashback to Candyman’s tragic demise, everything feels a little thin this time around. Philip Glass’ haunting musical themes make a welcome return to the fold, but it’s hard to get too worked up about what amounts to a repeat performance. ” Aaron Christensen, Horror 101 with Dr. AC
“Director Bill Condon has a sense of style but a heavy hand with actors–you can all but hear them telling themselves to hit their marks and punch out their lines. Still, Rowan is game, Todd again a figure of sinister dignity–this time the Candyman is allowed more pathos–and veteran Matt Clark shines in supporting role as a dabbler in the occult.” Kevin Thomas, Los Angeles Times
” …it is constantly trying to create mood and atmosphere but does so at the expense of basic plausibility. Director Bill Condon throws in false shock jumps at every conceivable opportunity – birds landing, derelicts jumping out at the heroine, Mardi Gras dancers slamming against the window, people unexpectedly touching others on the shoulder or entering the room reflected in a mirror.” Richard Scheib, Moria
“Anyone noteworthy simply isn’t around long enough to make much of an impact, which allows Candyman 2 to follow the recipe of the slasher follow-up: a sprinkle of added mythology, a lot of familiarity, even more bloodshed, and a tease for another sequel. To this end, it’s a decent success, especially with Condon on board to infuse the proceedings with some style…” Brett Gallman, Oh, the Horror!
“The script is constructed too much like a novel, which slows the pace of the early, establishing sections. Director Bill Condon works too hard to tie all the plot strands into a neat bow. So, for much of the picture, the audience is way ahead of the screen characters in guessing what comes next.” Leonard Klardy, Variety
“Todd is still menacing and scary, the grue doesn’t hold much back, and New Orleans always makes for an appealing filmic backdrop. Rowan’s role is limited by its through-the-motions writing, and she doesn’t seem that traumatised by the pretty f*cking gory murder of her husband right in front of her.” Vegan Voorhees
“This flick is just a straight up mess. Like the Freddy and Michael Myers sequels, this installment gives way too much background on the Candyman and ruins the mystique of the character. All it does if further jumble up an already incoherent plot line. The worst part of the movie though is the constant false scares.” Mitch Lovell, The Video Vacuum
Octavia Tarrant: “He’ll make a great father. Of course, I’ll be fuel for the worms by then.”
The Candyman: “Come with me and sing my song of misery.”
Principal filming from 16 August 1994 to 19 October 1994 in Los Angeles and New Orleans
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Scanners II: The New Order is a 1991 Canadian science fiction horror feature film directed by Christian Duguay (Screamers; Scanners III: The Takeover) from a screenplay by B.J. Nelson, based on David Cronenberg’s Scanners characters. The Malofilm production stars David Hewlett, Deborah Raffin, Raoul Trujillo, and Yvan Ponton.
David Kellum (David Hewlett), a young veterinarian intern, discovers that he has mental abilities to read and control minds of others. When he moves to the city to continue his studies, he finds difficulty in controlling himself: the congestion of many minds and the ability to hear voices overwhelm him.
During an armed robbery of a store David kills the gunman with his mind. Police Commander John Forrester watches the store’s security tape. He tells David that he knows what he is: a Scanner. And, there are others like him around the world. He enlists David’s help in tracking down elusive criminals…
Scanners II presents a neat twist on the original format, having the dysfunctional scanners being exploited by a right-wing police chief, who uses them to dish out vigilante justice. There are some nice touches dealing with the addictive nature of the drugs used to control the telepaths too, and some good gore set-pieces. The lead performances are passable – certainly no worse than Stephen Lack’s in the first film – and it’s likely that if you hadn’t seen David Cronenberg’s movie, you might well find this an impressively original movie.
As well as obviously aping the first film’s broad story, Scanners II also throws in another exploding head, taking a dramatic images from the original film and turning it into a thematic point – the implication being that you can’t have a Scanners film without an exploding head.
Obviously made with one eye on the prospect of further sequels, French director Christian Duguay – making his feature film debut -handles the material well, and although critics were generally dismissive, the target audience were generally happy with it in its video heyday, making a third instalment inevitable.
David Flint, HORRORPEDIA
“Some surprising familial links are made to the first film, but Scanners II plays things too safe. David has a girlfriend and loving parents. Raoul Trujillo plays Drak as more goofy than menacing. The plot flirts far too lightly with the alarming ethical issues of the Morse Neurological Research Institute deploying the EPH-2 drug to revert Scanners to a near comatose state.” Mat Bradley-Tschirgi, Battleship Pretension
“Hewlett is an affable enough type, he makes a good hero. His teaming up with Raffin as Vale works and ties into the original continuity of the first film in an appropriate enough manner. Ponton is fun as Forrester, watching him attempt to basically climb to power is enjoyable while Butler makes for a fine scientist. The movie is well shot, making good use of its Montreal locations…” Ian Jane, DVD Talk
“All the ideas of the original are translated into absurdly physical terms. The original’s head exploding trick was a show-capping novelty but here the effect is overused to the point of tedium – now heads explode every time scanners battle. The sequel is a film devoid of any intellectual content…” Richard Scheib, Moria
“Director Christian Duguay isn’t Cronenberg and in all fairness he doesn’t try to be either. He’s more of an action director and Scanners II moves at a pace more suited to something like The Hidden. The political machinations of Forrester are interesting to watch but the real fun is in the sequences like the opening in the video arcade.” Horace Cordier, Rock! Shock! Pop!
“The plot suggests a computer game called ‘RoboCop meets the Scanners’, while Duguay’s visual style consists entirely of pop promo clichés […] The cast is anonymous, the plot confused and sluggish; only Michael Smithson’s cheap, inventive special effects warrant attention.” Nigel Floyd, Time Out
” …there’s just no drive or urgency to the proceedings. There’s no fire in the flick’s belly. On top of that, it bogs way the f*ck down once Hewlett touches base with his sister. Oh, and if you take a shot of your favorite alcohol every time a character says “The New Order”, your head might explode.” Mitch Lovell, The Video Vacuum
Cast and characters:
David Hewlett … David Kellum
Deborah Raffin … Julie Vale
Yvan Ponton … Commander John Forrester
Isabelle Meijias … Alice Leonardo
Raoul Trujillo … Peter Drak
Tom Butler … Doctor Morse
Vlasta Vrána … Lt. Guy Gelson
Dorothée Berryman … Mayor Lanzoni
Murray Westgate … George Keullum
Doris Petrie … Susan Kellum
Emily Eby … Reporter
Jason Cavalier … Convenience Store Thug
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James Karen – November 28, 1923 to October 23, 2018 – was an American character actor. He was best known by horror/fantasy fans, and probably by the wider public too, for his roles in Poltergeist (1982), The Return of the Living Dead (1985) and Invaders from Mars (1986). He died, aged ninety-four, having appeared in over two hundred TV and movies roles including a cameo appearance in 2018 comedy horror Cynthia.
Karen was born Jacob Karnofsky in Wilkes-Barre, in northeastern Pennsylvania, the son of Russian-born Jewish immigrants Mae (née Freed) and Joseph H. Karnofsky, a produce trader. As a young man, Karen was recruited into a production at the Little Theatre of Wilkes-Barre. He later attended the Neighborhood Playhouse School of the Theatre in New York.
His big break came when he was asked to understudy Karl Malden in the original Broadway production of A Streetcar Named Desire. Beyond theatrical roles, Karen went on to play numerous characters on popular TV shows such as Starsky and Hutch, The Bionic Woman and The Rockford Files. He once remarked: “People don’t know my name, but they know my face because I’ve done so damn much work.”
As previously mentioned, one of Karen’s best-known roles were in the low-budget horror comedy The Return of the Living Dead, in which he starred as the manager of a medical warehouse who inadvertently releases a military gas that re-animates the dead. Karen and Thom Matthews proved so popular with audiences, they both returned for the sequel in 1987, playing different roles because their characters were both killed in the first movie.
In the original 1982 Poltergeist he played Mr. Teague the greedy real-estate developer who built the Californian community of Cuesta Verde on the site of a former cemetery.
In a 2006 interview about The Return of the Living Dead (1985), Karen said that he helped write most scenes of his character: “It was the deal where he figures out he’s becoming a zombie and decides to incinerate himself in the crematorium…He kisses his wedding ring as he goes in. It was a very emotional scene, but it also got me out of being one of the rain-drenched zombies milling around outside the place at the end of the film. I didn’t really want to do all that muddy stuff”
Initiation: Silent Night, Deadly Night 4 is a 1990 American horror feature film directed by Brian Yuzna (Society; Return of the Living Dead III; Necronomicon; The Dentist) from a screenplay co-written with Woody Keith and Arthur Gorson. Producer Richard N. Gladstein, who co-wrote the storyline, went on to work with Quentin Tarantino. Promotional material featured the title Silent Night, Deadly Night 4: Initiation. In the UK, the video release was re-titled Bugs.
Kim Levitt (Neith Hunter) is an aspiring journalist working for the L.A. Eye as a classified ads editor. Her boss, Eli (Reggie Bannister), seems to give all of the men in her office the breaks, including her boyfriend Hank (Tommy Hinkley). When a woman is discovered dead on the sidewalk, half-burned into ashes in an apparent case of the spontaneous human combustion, Kim decides to pursue the story on her own without Eli’s approval.
While investigating, she crosses paths with Fima (Maud Adams), a used bookstore proprietor whose shop is in the building the woman jumped from. As a gift, Fima offers Kim a book on feminism and the occult…
“Despite its low budget, the movie manages to get almost The Fly levels of practical effects and the whole movie is a very visceral experience. The acting from all involved is also top notch with Neith Hunter really selling the inquisitive mind of Kim while Clint Howard is brilliantly odd as the cult’s faithful servant Ricky.” Flickering Myth
“Director Brian Yuzna, someone who creates schlock that I usually enjoy, hits a bit of a low point here […] There are some aspects to the movie that horror fans will enjoy, including one or two decent special effects from Screaming Mad George, and a cameo role for Reggie Bannister, but not enough to even class it as an average time-waster.” Kevin Matthews, For It Is Man’s Number
“Overall, Silent Night, Deadly Night 4: Initiation is a solid film. It has a great cast and some amazing practical effects. The film is essentially a body horror flick with small creatures but lacks any connection to the previous Silent Night, Deadly Night films. This one is well worth a shot.” Horror Society
” …the subject matter is right up Yuzna’s alley because it allows for quite a few gross-out “body horror” moments that ultimately serve as the highlight of the film, as there are several interesting sequences (like Kim apparently giving birth to a giant slug-like creature). Unfortunately, these moments are all too brief and are surrounded by a fairly trite plot that’s incomprehensible at times…” Brett Gallman, Oh, the Horror!
“Look, this isn’t Yuzna’s finest hour by any stretch, but it’s okay. It’s hard not not like, at least on some level, any movie with Clint Howard and giant maggots. But it’s a confused, jumbled mess of a film, even if it has its heart in the right place.” Ryan C., Trash Film Guru
“Like Society, Initiation is another Los Angeles county set tale of surrealism and paranoia. Both playing like potent blends of Un Chien Andalou and Rosemary’s Baby, both movies focus on a lone hero/lone heroine who just can’t convince those closest to them that there’s something very wrong beneath realities ‘normal’ veneer.” Matty Budrewicz, UK Horror Scene
“Despite the sloppy finale this isn’t a bad follow-up and is filled with plenty of bizarre rituals, some unsettling images (such as Hunter’s bug spit-up) and some decent suspense during an apartment assault by homeless man (and the Wiccan cult’s tool) Clint Howard. Watchable stuff with a script by Woody Keith that seems obsessed with bugs (mostly roaches) and has a few moments of thinly veiled feminism.” The Video Graveyard
Kim: “Yeah, the only way to get anything around around here is if you have a dick!”
Kim: “Dammit Janice, we do we need men anyway?”
Kim: “Oh yeah? Well, fck my attitude, fck my job and f*ck you!”
The Witches is a 1990 comedy horror feature film based on the book of the same name by Norwegian-British author Roald Dahl (The Night Digger). It was directed by Nicolas Roeg (Don’t Look Now) and produced by Jim Henson Productions for Lorimar Film Entertainment and Warner Bros. The movie stars Anjelica Huston, Mai Zetterling and Rowan Atkinson.
The soundtrack score was provided by Stanley Myers (Paperhouse; Incubus; Schizo).
The Witches is about a young boy named Luke (Jasen Fisher) whose parents have died in a tragic accident, and whose grandmother (Mai Zetterling) takes him to a posh hotel in England, where a secret coven of witches is holding its annual convention. The Grand High Witch (Anjelica Huston, in a scene-stealing performance) has decreed that all children in England be turned into mice, and Luke and his pal Bruno (Charles Potter) are the first victims on the list…
As well as being the last film that Jim Henson personally worked on before his death, this was also the final theatrical film produced by Lorimar Productions and the last film made based on Dahl’s material before his death in 1990.
“I love Henson’s look and it works well with Dahl’s storytelling. The movie is surreal and terrifying (the witches transformation at the end is pretty horrific at points). The filmmakers also did a great job combining the animatronic mice with real mice. The Witches is a fun movie that kids and adults will enjoy.” JP Roscoe, Basement Rejects
“This mostly terrific Roald Dahl adaptation is down to the fact that left-leaning British master Nicholas Roeg, the man responsible for Don’t Look Now and The Man Who Fell To Earth, is very much in tune with the devilish cunning of this black hued novel. Hence, its one of the best, and most unnoticed, of recent kid-scaring (and therefore kid pleasing) movies.” Ian Nathan, Empire
“The Witches is an intriguing movie, ambitious and inventive, and almost worth seeing just for Anjelica Huston’s obvious delight in playing a completely uncompromised villainess.” Roger Ebert, Chicago Sun-Times
“The Witches is a film that genuinely takes one aback with its gleeful malice, especially so when placed in comparison to the blandly G-rated inoffensiveness of other children’s films. Nicolas Roeg serves up some marvellously horrid images of decapitated fingers and witches malevolently pushing baby carriages from cliffs. There is a tour-de-force of makeup grotesquerie…” Richard Scheib, Moria
“The visual creations from Jim Henson Productions are great, the look of Eva when she removes her hair and mask is stunning but it is too scary for children. Yet the comedy of Luke spying on the witches, scampering through the kitchen as a mouse is the stuff which young children will enjoy. Throw in a whole 70s vibe and “The Witches” ends up being a mismatch and one which doesn’t work.” Andy Webb, The Movie Scene
” …the movie is often downright scary, which makes the experience feel surprisingly potent and engaging. There’s a real sense of poignancy and danger that accompanies the entire movie, and the whole thing is a tense, funny, grotesque and delightful way to spend ninety minutes.” Julien Houle, Pop Culture Thoughts
“The transformation scenes where the grand high witch takes off her human face and becomes her true self are beautifully executed. It really looks as though Anjelica Huston’s face is a mask. There are nearly no cuts in the scene, which makes it even more impressive. The Witches is a great family friendly horror film that delivers the scares without being too graphic.” Tyler Doupé, Wicked Horror
Fresh off the premiere of Venom, Todd McFarlane updated fans at New York Comic Con on his upcoming Spawn remake and some cool news for action figure collectors this past weekend. Get ready to pull out those wallets! While chatting with IGN at NYCC, McFarlane revealed his toy companies plan to “go back to basics.” […]
Celeste Yarnall – 26 July 1944 to 7 October 2018 – was an American actress who started her career on television before moving to the big screen.
Celeste’s TV appearances included Bewitched (1966), The Man from U.N.C.L.E. (1966), the Star Trek episode ‘The Apple’ (1967) and Land of the Giants (1968).
She made a brief early movie appearance in the Jerry Lewis Jekyll and Hyde-themed comedy The Nutty Professor but horror aficionados will best remember her in Beast of Blood (1970) and as the distinctive Diane LeFanu in Stephanie Rothman’s hippie horror flick The Velvet Vampire(1971).
Celeste’s later genre cameo appearances were in urban vampire tale Midnight Kiss (1993) and Skinwalker: Curse of the Shaman (2005).
Delicatessen is a 1991 French post-apocalyptic black comedy feature film directed by Jean-Pierre Jeunet (Alien Resurrection) and Marc Caro. The movie stars Dominique Pinon, Marie-Laure Dougnac, Jean-Claude Dreyfus and Karin Viard.
In a dilapidated apartment building in a post-apocalyptic country, food is in short supply and grain is used as currency. On the ground floor is a butcher’s shop, run by the landlord, Clapet, who posts job opportunities in the Hard Times paper as means to lure victims to the building, whom he murders and butchers as a cheap source of meat to sell to his tenants.
Following the murder of the last worker, unemployed circus clown Louison applies for the vacant position. During his routine maintenance, he befriends Clapet’s daughter, Julie, a relationship which slowly blossoms into romance. Louison proves to be a superb worker with a spectacular trick knife and the butcher is reluctant to kill him too quickly.
During this time several of the tenants fall under Louison’s boyish charms, worrying others who are more anxious for their own safety should they require meat. Aware of her father’s motives, Julie descends into the sewers to make contact with the feared Troglodistes, a group of vegetarian rebels, whom she persuades to help rescue Louison…
“One of the film’s most famous sequences, which was used for the theatrical trailer, is simply a marvelously edited montage of the apartment house dwellers rhythmically going about their various chores in time with Clapet’s vicious sex act above them. It’s both comical and slightly horrifying at the same time, something this film manages to achieve regularly throughout its relatively short running time.” Jeffrey Kaufman, Blu-ray.com
“It’s a strange film of contrasts, clashing horror with love and suspense with comedy, but it’s a very original work that proves to be both interesting and entertaining at the same time. It isn’t particularly thought provoking, and at times it seems to be simply weird for the sake of being weird, but those with a taste for surrealist black comedy should embrace the film with open arms.” Ian Jane, DVD Talk
“Delicatessen defies categorisation as it includes elements of drama, romance and fantasy with a healthy dose of horror and comedy. It is beautifully directed, has a unique visual design, clever use of music and it is incredibly inventive with horrifying and hilarious scenes by turns.” Eat Horror
“While Delicatessen has a few bizarro precedents; Eraserhead, Brazil, Life on the Edge, The Last Battle, this is still a delightfully original picture, poised perfectly between farce and horror, with the sinister undertones of much recent French cinema fin.” Jack Yeovil, Empire
“From a technical stand point Delicatessen is an artistic tour de force that sometimes suffers under its own weight.The visual sequences are stunning, clever and amusing; many working as well choreographed jokes. The opening credits are a feast for the eye. The soundtrack is a haunting mix of odd sound effects and quirky little instrumentals with a borderline carnival feeling to them.” Hold It Now
“In the studiously zany French fantasy film Delicatessen, apocalyptic rubble and 1940’s American kitsch make for a peculiar mix […] Shot in oppressive orangey tones and sometimes taking unexpectedly grisly turns, Delicatessen works best when simply allowing its characters to express their strangeness.” Janet Maslin, The New York Times
” …hooks viewers with an outrageous montage of rythmically edited visuals initiated by a sex scene between the butcher and his lover shot from under the bed. All other wacko characters are well-defined and carefully developed, including the armed postman who holds up people when delivering the mail and the snail eater whose flat is two inches deep in water and escargot shells.” Variety
Clapet: “I’m a butcher, but I don’t mince words.”
Cast and characters:
Dominique Pinon as Louison
Marie-Laure Dougnac as Julie Clapet
Jean-Claude Dreyfus as Clapet
Karin Viard as Mademoiselle Plusse
Ticky Holgado as Marcel Tapioca
Edith Ker as Grandmother
Rufus as Robert Kube
Jacques Mathou as Roger
Howard Vernon as Frog Man – Howl of the Devil; Zombies’ Lake; The Diabolical Dr. Z; The Awful Dr. Orlof; et al
On the week before Christmas, in the fictional town of Snowmonton, a truck carrying serial killer Jack Frost (Scott MacDonald) to his execution crashes into a genetics truck. The genetic material causes Jack’s body to mutate and fuse together with the snow on the ground.
Jack is presumed dead and his body melts away. However, he comes back as a killer snowman and takes revenge on the man who finally caught him, Sheriff Sam Tiler (Christopher Allport).
Scanned and restored in 2k from 35mm vault elements
Commentary track with Director Michael Cooney
Video introduction from Director Michael Cooney
Video interview with Lead Actor Scott MacDonald
Video interview with Director of Photography Dean Lent
5.1 DTS-HD Surround Sound
Cover artwork by Chris Garofalo
Reversible cover art
English SHD Subtitles
“Jack Frost isn’t a masterpiece, but it’s a fun piece of 90 minute fluff that will put a smile on your face. It’s a very entertaining B-movie if you happen to go in with low expectations and get the joke. A definitely guilty pleasure and worthy of an annual viewing during the Christmas season.” Full Moon Reviews
” …notable among ’90s movie fans for an appearance by a very young Shannon Elizabeth, who gets the most disturbing scene when she encounters Jack Frost in a bathtub and suffers a fate that wouldn’t look out of place in SuperVixens. The combination of brutal violence and yukity-yuk one liners isn’t something that will necessarily appeal to everybody, but if you’re on the right wavelength, it’s a pretty wild sleigh ride.” Nathaniel Thompson, Mondo Digital
“It’s admittedly one dumb joke stretched out over the course of a movie, but at least it’s got a lot of good punch lines in the form of some over-the-top kill sequences, which are almost always accompanied by some hideous one-liners (and Scott MacDonald’s gravely delivery makes Frost sound like a low-rent Charles Lee Ray).” Brett Gallman, Oh, the Horror!
“The plot devices are sudden and convenient, and the special effects succeed through jarring close-ups, camera angles, and clever use of foam. I’m not saying there isn’t a little bit of pain for the viewer: the acting isn’t good, and the characters are mostly flat, but just about the time you begin rethinking this movie’s innate greatness, there comes another death scene, which will be a strange, wrong, hilarious thing.” Polyphobia Horror Film Reviews
“This is, for all intents and purposes, a dark comedy. But it works. Those expecting realism need not apply but if you can appreciate the novelty of a foul-mouthed snowman f*cking shit up in a small, picturesque town then the odds are pretty good that you’ll get a kick out of Jack Frost.” Ian Jane, Rock! Shock! Pop!
“There is some humor, but plenty of terrible one-liners and swing-and-miss attempts. It has some decent violence, but is hindered by a hilariously terrible snowman costume and awful effects. Is the movie good? No. Is it fun to watch. Sort of.” 365 Days of Horror Movies
“The special effects are well anything but special, Styrofoam circles of differing sizes make for our Jack, and no attempt is made to make him look any better on the screen. Yet Jack Frost is a strangely captivating film, this is a horror for the south park generation, elaborate over the top kills and plenty of laughs along the way.” Mark Pidgeon, UK Horror Scene
“When Jack starts shooting icicle daggers from his body to gleefully kill, I found it difficult to keep watching. Cooney loses his street-cred completely at this point, making Jack Frost a movie for people interested in novelty killings more than coherent story-telling or characterizations.” JM Cozzoli, Zombos Closet of Horror