Racketboy Month of Horror 16: Weaponization
Re: Racketboy Month of Horror 16: Weaponization
Don't forget Over the Garden Wall.
Re: Racketboy Month of Horror 16: Weaponization
My wife has an annual tradition of watching Clue each October. It's less horror, more mystery, but I found it a cute tradition.
Also, Gremlins is PG. Just saying.
3. The Strangers: Chapter 2
So The Strangers got a sort-of remake that was the first part of a consecutively filmed trilogy. I didn't bother seeing that first film in this new trilogy because I was informed it was a lesser version of the original film, which is a genuinely good horror movie. Instead, I chose to come back to the second film in this new trilogy...which was a mistake. A terrible mistake. Because this is not a good movie. It's reliant on bad decision making, unrealistic locales, horrid medical advice, and some baffling thing about a CG boar trained to act like an attack dog that just...doesn't work.
Basically in the first of the new trilogy, three strangers in masks attack a young couple dealing with relationship issues while they're at their vacation home. This is how the first film went, though it's not as well done here apparently. Anyway, in the second film, the young woman has survived, and now the three masked killers want to take her out. But the town has "SECRETS", so...yeah, little help, what help she does get is largely useless, and the townsfolk are pointlessly creepy, because that's just how they are. Queue our lady lead running into the rain and the woods with great hair, having to stitch herself up, getting attacked by a CG boar, and eventually ending up in a definitely-American-and-not-German-where-this-movie-was-filmed house, only to kill one of the killers. And then we get a trailer built in for the third movie, where she will *gasp* become one of the killers.
Also, did you know morgue refrigerator shelves have grates you can see through and open from the inside? Because they don't.
4. Glorious
Now this is more like it.
A heartbroken man stops at a highway rest stop, gets drunk, loses his pants, and goes to the bathroom. There he discovers a god in a bathroom stall through a glory hole that needs him to provide an offering to save all of existence and the universe. And that god is voiced by J.K. Simmons. That sound you're hearing right now is me declaring this the greatest movie idea ever.
Most of the film is in a really nasty bathroom. Like, disgustingly so. And it gets nastier over the course of the film. But more importantly, it finds a way to keep the story moving despite the vast majority of it being one dude talking to a...thing in a dark bathroom stall. Yet the film understands pacing, and it offers up more than a couple of twists over where this is all going. You see, things aren't as they seem when it comes to meeting celestial beings at glory holes. And no, you haven't guessed where this is going. You genuinely haven't.
I can't really tell you anything more about what this movie will do without giving something away, so just know to expect a lot of blood. A LOT of blood. And it's cosmic horror without getting all "Here's Cthulhu", which admittedly is what most cosmic horror does. I recommend it. I highly recommend it.
5. Saloum
I have seen some wonderful and some terrible movies from different nations in Africa. My explorations have been limited, but I know there is a lot of great cinema there that just hasn't made it across the ocean to me. And of what I have seen, Saloum is possibly the greatest. It's a mixture of genres, incorporating elements of horror, crime, even Westerns, to create a film that is unique, tough, and endearing. Child soldiers, mercenaries, postcolonial exploitation, ancient curses, history, law and order, revenge, the human senses, it all comes crashing together into a movie that I found myself loving.
Chaka, Rafa, and Papa Minuit are mercenaries, known as the Hyenas of Bangui, who are tasked with getting a Mexican drug lord out of a war zone in Guinea-Bissau to Dakar, Senegal. But their plane has been sabotaged, so Chaka takes them to Saloum, a remote river delta with plenty of secrets and some very old legends. They end up rooming at a small resort where Omar, the owner, offers up free room and food as long as the guests help out. Only Chaka isn't telling his buddies exactly what's going on, and by the halfway point, we have an extremely ancient curse coming to life as night becomes day and swarm-like entities try to kill people through their sense of hearing, causing their bodies to rot out in horrible ways.
I have little in the way of complaints about this movie. The pacing isn't quite like American cinema, but that's ok. The lighting and camera work is fantastic, the main actors are visually striking and give larger than life performances, and the landscape is breathtaking. The visual effects aren't perfect, but I'm not actually sure how they could have done better with the swarm-like entities that end up attacking everyone. Really, my only complaints are minor quibbles in what is an excellent film. Above all, I had fun. I was absolutely delighted with Saloum, and it's one I will remember for a long time.
Also, Gremlins is PG. Just saying.
3. The Strangers: Chapter 2
So The Strangers got a sort-of remake that was the first part of a consecutively filmed trilogy. I didn't bother seeing that first film in this new trilogy because I was informed it was a lesser version of the original film, which is a genuinely good horror movie. Instead, I chose to come back to the second film in this new trilogy...which was a mistake. A terrible mistake. Because this is not a good movie. It's reliant on bad decision making, unrealistic locales, horrid medical advice, and some baffling thing about a CG boar trained to act like an attack dog that just...doesn't work.
Basically in the first of the new trilogy, three strangers in masks attack a young couple dealing with relationship issues while they're at their vacation home. This is how the first film went, though it's not as well done here apparently. Anyway, in the second film, the young woman has survived, and now the three masked killers want to take her out. But the town has "SECRETS", so...yeah, little help, what help she does get is largely useless, and the townsfolk are pointlessly creepy, because that's just how they are. Queue our lady lead running into the rain and the woods with great hair, having to stitch herself up, getting attacked by a CG boar, and eventually ending up in a definitely-American-and-not-German-where-this-movie-was-filmed house, only to kill one of the killers. And then we get a trailer built in for the third movie, where she will *gasp* become one of the killers.
Also, did you know morgue refrigerator shelves have grates you can see through and open from the inside? Because they don't.
4. Glorious
Now this is more like it.
A heartbroken man stops at a highway rest stop, gets drunk, loses his pants, and goes to the bathroom. There he discovers a god in a bathroom stall through a glory hole that needs him to provide an offering to save all of existence and the universe. And that god is voiced by J.K. Simmons. That sound you're hearing right now is me declaring this the greatest movie idea ever.
Most of the film is in a really nasty bathroom. Like, disgustingly so. And it gets nastier over the course of the film. But more importantly, it finds a way to keep the story moving despite the vast majority of it being one dude talking to a...thing in a dark bathroom stall. Yet the film understands pacing, and it offers up more than a couple of twists over where this is all going. You see, things aren't as they seem when it comes to meeting celestial beings at glory holes. And no, you haven't guessed where this is going. You genuinely haven't.
I can't really tell you anything more about what this movie will do without giving something away, so just know to expect a lot of blood. A LOT of blood. And it's cosmic horror without getting all "Here's Cthulhu", which admittedly is what most cosmic horror does. I recommend it. I highly recommend it.
5. Saloum
I have seen some wonderful and some terrible movies from different nations in Africa. My explorations have been limited, but I know there is a lot of great cinema there that just hasn't made it across the ocean to me. And of what I have seen, Saloum is possibly the greatest. It's a mixture of genres, incorporating elements of horror, crime, even Westerns, to create a film that is unique, tough, and endearing. Child soldiers, mercenaries, postcolonial exploitation, ancient curses, history, law and order, revenge, the human senses, it all comes crashing together into a movie that I found myself loving.
Chaka, Rafa, and Papa Minuit are mercenaries, known as the Hyenas of Bangui, who are tasked with getting a Mexican drug lord out of a war zone in Guinea-Bissau to Dakar, Senegal. But their plane has been sabotaged, so Chaka takes them to Saloum, a remote river delta with plenty of secrets and some very old legends. They end up rooming at a small resort where Omar, the owner, offers up free room and food as long as the guests help out. Only Chaka isn't telling his buddies exactly what's going on, and by the halfway point, we have an extremely ancient curse coming to life as night becomes day and swarm-like entities try to kill people through their sense of hearing, causing their bodies to rot out in horrible ways.
I have little in the way of complaints about this movie. The pacing isn't quite like American cinema, but that's ok. The lighting and camera work is fantastic, the main actors are visually striking and give larger than life performances, and the landscape is breathtaking. The visual effects aren't perfect, but I'm not actually sure how they could have done better with the swarm-like entities that end up attacking everyone. Really, my only complaints are minor quibbles in what is an excellent film. Above all, I had fun. I was absolutely delighted with Saloum, and it's one I will remember for a long time.
Re: Racketboy Month of Horror 16: Weaponization
Thanks, PRFSNL. Charlie Brown is definitely in the queue. We're well familiar with that one.
And Ack, Gremlins was one of the key films responsible for the creation of PG-13, but you already know that...
And Ack, Gremlins was one of the key films responsible for the creation of PG-13, but you already know that...
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prfsnl_gmr
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Re: Racketboy Month of Horror 16: Weaponization
Ernest Scared Stupid isn't! It's strictly Halloween, only PG and a personal yearly favorite of mine.
Re: Racketboy Month of Horror 16: Weaponization
Oooohhhh... I haven't introduced him to any Earnest movies, yet.
Re: Racketboy Month of Horror 16: Weaponization
Didn't they reuse the Killer Klowns From Outer Space masks for the goblins in that?
Aldo, I recommend Killer Klowns From Outer Space.
Aldo, I recommend Killer Klowns From Outer Space.
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PretentiousHipster
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Re: Racketboy Month of Horror 16: Weaponization
1. Dead Lover (2025) - Grace Glowicki 1/10
Its set design can be cool despite the very low budget, and the artificial lighting was well done in some scenes. They were playing around with gender in terms of the Frankenstein tale which was refreshing.
Everything else was the most grating experience of my life. Not only is this the type of humour I absolutely hate, the "lololol I'm so random" humour that millienals did when younger, but it's done in such an aggressive way that it actually turned into hell to watch. If you enjoy that humour, this is perfect for you. I guess I "grew out" of that style.
2. Dark Waters (1993) - Mariano Baino 9/10
Weird how this is an Italian horror, which I am almost never a fan of, yet I clicked with this so well. I think it's mostly because it's eastern european, so the aesthetic of it are the brown dimly cat caves, instead of being drenched in neon. Just its clever use of locations made it better than the Italian horrors for me.
They didn't go for dubbing, and it seems like they learned their lines phonetically. I did prefer it because that non-acting involved was only in the "off" town, so it gave it a more surreal feel.
But, the main part of this is just how terrifying the film is. There are almost no jump scares, but the imagery they put here are insane. I think if you know some things about religion, it's what makes it more effective as well. It's probably the most blasphemous of all these types of horrors. It does a build up of it being a slow burn but is consistent in becoming more concerning and scary, and it never lets go.
3. I Like Bats (1986) - Grzegorz Warchoł 4/10
A very entertaining first act a la Jennifer's Body/Species in terms of the dangers of men going for their evil desires (usually in terms of stalking and/or attempted rape). Afterwards it becomes pretty pathetic. She ends up in the psych ward for being a nymphomaniac which makes sense given the first act the film, but the way they establish the psychological aspect of it, especially as the film goes in and she looks deeper into her desires, was definitely one of the more depressing cases of ruining a potentially good film.
4. The Colossus of New York (1958) - Eugène Lourié 4/10
I did enjoy its setup and the obvious low budget set ups. Not to mention the lack of logic for a mad scientist, such as why make such a large and powerful body to insert a brain into if you just want them to do science? It's an underwhelming mess as although they do try to make him a tragic figure and partially exceed in that, it is far too underwhelming in that aspect that it simply just becomes a boring film.
5. Hungry Wives (1972) - George A. Romero 8/10
George A. Romero is pretty awful at making surreal dream sequences which starting my experience of it being a concerning one. Fortunately, it's only for the first few minutes of the film. Everything else is about the ennui of the suburbian housewife life and the patriarchal standards that comes with the family unit. It reminded me a lot of Cassavetes in that regard. Throw in the witch factor that she uses as a form of liberation, and it feels like throwing Sarno into the mix. Adding both director influences at once with the borderline cheap and exploitative feel of an early Romero film, and it made the film an incredibly well done and engaging film. The lead's performance was just fantastic, and that comes with the territory of the Cassavetes style lead performances.
6. Dracula (2025) - Radu Jude 9/10
*Spits*
Late Godard doing Freddy Got Fingered. A film so anti-art by showing how AI is just as anti-art. A brilliant strategy by having an AI making awful films to the point that you revel in its absurdity. I especially loved the extremely dumb 50 minute horror segment, and the love story that was made for the masses according to the AI, but is also incredibly dumb while being extremely problematic. The 50 minute segment was filmed near traffic and pedestrians walking through the camera at one scene, and this was based in like the 17-18th century.
The "main" plot is a biting satire against the tourism industry of Romania, and although they establish some great characters in it, it is also filmed so poorly that makes senses thanks to its guerilla style filmmaking. He clearly didn't care about what he was doing, but you can tell he was in full control.
What a brilliant case of trolling.
Its set design can be cool despite the very low budget, and the artificial lighting was well done in some scenes. They were playing around with gender in terms of the Frankenstein tale which was refreshing.
Everything else was the most grating experience of my life. Not only is this the type of humour I absolutely hate, the "lololol I'm so random" humour that millienals did when younger, but it's done in such an aggressive way that it actually turned into hell to watch. If you enjoy that humour, this is perfect for you. I guess I "grew out" of that style.
2. Dark Waters (1993) - Mariano Baino 9/10
Weird how this is an Italian horror, which I am almost never a fan of, yet I clicked with this so well. I think it's mostly because it's eastern european, so the aesthetic of it are the brown dimly cat caves, instead of being drenched in neon. Just its clever use of locations made it better than the Italian horrors for me.
They didn't go for dubbing, and it seems like they learned their lines phonetically. I did prefer it because that non-acting involved was only in the "off" town, so it gave it a more surreal feel.
But, the main part of this is just how terrifying the film is. There are almost no jump scares, but the imagery they put here are insane. I think if you know some things about religion, it's what makes it more effective as well. It's probably the most blasphemous of all these types of horrors. It does a build up of it being a slow burn but is consistent in becoming more concerning and scary, and it never lets go.
3. I Like Bats (1986) - Grzegorz Warchoł 4/10
A very entertaining first act a la Jennifer's Body/Species in terms of the dangers of men going for their evil desires (usually in terms of stalking and/or attempted rape). Afterwards it becomes pretty pathetic. She ends up in the psych ward for being a nymphomaniac which makes sense given the first act the film, but the way they establish the psychological aspect of it, especially as the film goes in and she looks deeper into her desires, was definitely one of the more depressing cases of ruining a potentially good film.
4. The Colossus of New York (1958) - Eugène Lourié 4/10
I did enjoy its setup and the obvious low budget set ups. Not to mention the lack of logic for a mad scientist, such as why make such a large and powerful body to insert a brain into if you just want them to do science? It's an underwhelming mess as although they do try to make him a tragic figure and partially exceed in that, it is far too underwhelming in that aspect that it simply just becomes a boring film.
5. Hungry Wives (1972) - George A. Romero 8/10
George A. Romero is pretty awful at making surreal dream sequences which starting my experience of it being a concerning one. Fortunately, it's only for the first few minutes of the film. Everything else is about the ennui of the suburbian housewife life and the patriarchal standards that comes with the family unit. It reminded me a lot of Cassavetes in that regard. Throw in the witch factor that she uses as a form of liberation, and it feels like throwing Sarno into the mix. Adding both director influences at once with the borderline cheap and exploitative feel of an early Romero film, and it made the film an incredibly well done and engaging film. The lead's performance was just fantastic, and that comes with the territory of the Cassavetes style lead performances.
6. Dracula (2025) - Radu Jude 9/10
*Spits*
Late Godard doing Freddy Got Fingered. A film so anti-art by showing how AI is just as anti-art. A brilliant strategy by having an AI making awful films to the point that you revel in its absurdity. I especially loved the extremely dumb 50 minute horror segment, and the love story that was made for the masses according to the AI, but is also incredibly dumb while being extremely problematic. The 50 minute segment was filmed near traffic and pedestrians walking through the camera at one scene, and this was based in like the 17-18th century.
The "main" plot is a biting satire against the tourism industry of Romania, and although they establish some great characters in it, it is also filmed so poorly that makes senses thanks to its guerilla style filmmaking. He clearly didn't care about what he was doing, but you can tell he was in full control.
What a brilliant case of trolling.
Re: Racketboy Month of Horror 16: Weaponization
Watched Freddy's Dead: The Final Nightmare last night after work. Might watch Wes Craven's New Nightmare tonight since I'm off all day today.
Also, how crazy would it be if Nightmare on Elm Street was made by Wes Anderson in lieu of Wes Craven?
Also also, asymmetrical horror game based on Nightmare on Elm Street when?
Oh, and played a bit of Cronos: The New Dawn for Switch 2 last night. Got killed by the first enemy encounter.
Also, how crazy would it be if Nightmare on Elm Street was made by Wes Anderson in lieu of Wes Craven?
Also also, asymmetrical horror game based on Nightmare on Elm Street when?
Oh, and played a bit of Cronos: The New Dawn for Switch 2 last night. Got killed by the first enemy encounter.
Re: Racketboy Month of Horror 16: Weaponization
I think all children should see Gremlins. It made me the man I am today.
6. The Taking of Deborah Logan
It's never a good sign when the producers' credits are being used to advertise the film. It's like when the soundtrack is the focal point, or footage of the voice actors in a booth saying their lines.
Yet, this particular found footage film rises above such a mistake. I'll eat crow when it's warranted, and it's warranted, because The Taking of Deborah Logan is a very interesting movie. The film starts as a faux-documentary about an Alzheimer's patient that takes a more sinister turn. At first I thought, "Alzheimer's as demonic possession is actually a pretty brilliant idea." But then its gets weird. It's not a demon, it's something else, and it's got a whole thing about snakes that leads to a final scene that is just...well, I can't really describe what the hell is going on without ruining it. I don't wanna open my big mouth and give it away.
Also, this movie has one of the smartest characters I have ever seen in found footage. The dude sees some weird stuff and straight up leaves halfway through. He never reappears in the film. Do you know how refreshing it is just to see someone get up and walk away in one of these films? I applauded him. Seriously applauded. Also, there are a lot of great jokes about white people and how many freaking attics we have, because the house most of the action takes place in has like five.
The found footage subgenre can be very hit or miss with me, but combining a great way to adapt a terrible disease to horror, intelligent characters, and a story that is twisting and bizarre enough to stay interesting, I found The Taking of Deborah Logan to be a hit.
7. Memoirs of a Murderer
This is actually a thriller, not a true horror movie. But it's about a serial killer with dementia fighting another serial killer as he loses his grip on reality and memory, and South Korea handles its thrillers quite well, so I don't care about your protests. This movie goes on my list.
Byeong-soo is a murderer, a man who strangles people that he deems worthy of punishment for rules that he determines. It started as a kid with his father, and it kept going on and on until a car accident caused brain damage and forced him to stop. Seventeen years later, the brain damage has progressed into dementia, and he has trouble remembering who he is and what he's doing, acknowledging the passage of time, even hallucinating people and events that don't happen at all. Unfortunately, he also gets into a fender bender with another serial killer, and he immediately recognizes what he's come across. And he doesn't approve of the younger guy's methods. Plus, he's got a daughter that's the new killer's type, so yeah, he's worried.
With an incredibly unreliable main character, whose reality has slipped so far that he can't really be sure of what's real or what's not, we have a situation that feels like Memento and A Beautiful Mind had a psychopathic baby. However, Byeong-soo also feels relatable in his fear of losing his mind, and his psychopathy is explained away as a good thing. Frankly, the tired old man is somehow likable, despite the fact that he is quite literally a strangler with a lack of empathy and emotion. So you root for him in his clash against a "worse" evil, a man that preys on women by kidnapping, torturing, and bleeding them dry. Yet over the course of the film, you learn just how terrible Byeong-soo really is and also how far his mind is gone. And at the end, you have to ask yourself: was any of this story true? Or none of it? Did he win, or is he so far gone into the mental fog that what we thought happened didn't happen at all?
I dug it.
8. Demons 2
Ok, so I enjoy the first Demons movie by Lamberto Bava. Dario Argento also produced it, and by the mid-1980s, we're around the tail end of what most folks consider Argento's most successful period of filmmaking. Shortly after the first film, Bava gets asked to make a sequel. It's more of the same of the first film's freaky demon antics, only this time with them popping out of TVs in a ritzy skyscraper and toned down gore.
These kinds of movies aren't that uncommon. Gremlins 2, [REC], Poltergeist III, The Belko Experiment, we're still making movies about being trapped in a skyscraper. Blame The Towering Inferno if you want. However, here it's demons popping out from a movie-in-a-movie to infect a bunch of partygoers in typical 1980s garb. Did you know neon signs that say things like "Night" were popular apartment decor? I sure didn't. But then I've seen a lot of 1980s European movies that make me question whether the old country ever actually had good taste. The obsession with post-apocalyptic shoulder pads still weirds me out.
Anyway, you have multiple storylines going on as people flee the demons run amok in the building, while outside is a very bad Waiting for Godot C-plot sequence that results in a car accident and is pretty much irrelevant. But inside, a jacked action hero physicist is trying to get back to his pregnant girlfriend while a bunch of body builders hole up in the parking garage to fight off the demons. It ends poorly for the body builders. It works out for the physicists. End result: believe in science, folks. It's where true strength comes from. And by that, I mean killer biceps.
6. The Taking of Deborah Logan
It's never a good sign when the producers' credits are being used to advertise the film. It's like when the soundtrack is the focal point, or footage of the voice actors in a booth saying their lines.
Yet, this particular found footage film rises above such a mistake. I'll eat crow when it's warranted, and it's warranted, because The Taking of Deborah Logan is a very interesting movie. The film starts as a faux-documentary about an Alzheimer's patient that takes a more sinister turn. At first I thought, "Alzheimer's as demonic possession is actually a pretty brilliant idea." But then its gets weird. It's not a demon, it's something else, and it's got a whole thing about snakes that leads to a final scene that is just...well, I can't really describe what the hell is going on without ruining it. I don't wanna open my big mouth and give it away.
Also, this movie has one of the smartest characters I have ever seen in found footage. The dude sees some weird stuff and straight up leaves halfway through. He never reappears in the film. Do you know how refreshing it is just to see someone get up and walk away in one of these films? I applauded him. Seriously applauded. Also, there are a lot of great jokes about white people and how many freaking attics we have, because the house most of the action takes place in has like five.
The found footage subgenre can be very hit or miss with me, but combining a great way to adapt a terrible disease to horror, intelligent characters, and a story that is twisting and bizarre enough to stay interesting, I found The Taking of Deborah Logan to be a hit.
7. Memoirs of a Murderer
This is actually a thriller, not a true horror movie. But it's about a serial killer with dementia fighting another serial killer as he loses his grip on reality and memory, and South Korea handles its thrillers quite well, so I don't care about your protests. This movie goes on my list.
Byeong-soo is a murderer, a man who strangles people that he deems worthy of punishment for rules that he determines. It started as a kid with his father, and it kept going on and on until a car accident caused brain damage and forced him to stop. Seventeen years later, the brain damage has progressed into dementia, and he has trouble remembering who he is and what he's doing, acknowledging the passage of time, even hallucinating people and events that don't happen at all. Unfortunately, he also gets into a fender bender with another serial killer, and he immediately recognizes what he's come across. And he doesn't approve of the younger guy's methods. Plus, he's got a daughter that's the new killer's type, so yeah, he's worried.
With an incredibly unreliable main character, whose reality has slipped so far that he can't really be sure of what's real or what's not, we have a situation that feels like Memento and A Beautiful Mind had a psychopathic baby. However, Byeong-soo also feels relatable in his fear of losing his mind, and his psychopathy is explained away as a good thing. Frankly, the tired old man is somehow likable, despite the fact that he is quite literally a strangler with a lack of empathy and emotion. So you root for him in his clash against a "worse" evil, a man that preys on women by kidnapping, torturing, and bleeding them dry. Yet over the course of the film, you learn just how terrible Byeong-soo really is and also how far his mind is gone. And at the end, you have to ask yourself: was any of this story true? Or none of it? Did he win, or is he so far gone into the mental fog that what we thought happened didn't happen at all?
I dug it.
8. Demons 2
Ok, so I enjoy the first Demons movie by Lamberto Bava. Dario Argento also produced it, and by the mid-1980s, we're around the tail end of what most folks consider Argento's most successful period of filmmaking. Shortly after the first film, Bava gets asked to make a sequel. It's more of the same of the first film's freaky demon antics, only this time with them popping out of TVs in a ritzy skyscraper and toned down gore.
These kinds of movies aren't that uncommon. Gremlins 2, [REC], Poltergeist III, The Belko Experiment, we're still making movies about being trapped in a skyscraper. Blame The Towering Inferno if you want. However, here it's demons popping out from a movie-in-a-movie to infect a bunch of partygoers in typical 1980s garb. Did you know neon signs that say things like "Night" were popular apartment decor? I sure didn't. But then I've seen a lot of 1980s European movies that make me question whether the old country ever actually had good taste. The obsession with post-apocalyptic shoulder pads still weirds me out.
Anyway, you have multiple storylines going on as people flee the demons run amok in the building, while outside is a very bad Waiting for Godot C-plot sequence that results in a car accident and is pretty much irrelevant. But inside, a jacked action hero physicist is trying to get back to his pregnant girlfriend while a bunch of body builders hole up in the parking garage to fight off the demons. It ends poorly for the body builders. It works out for the physicists. End result: believe in science, folks. It's where true strength comes from. And by that, I mean killer biceps.