💸 Money for Girls: Amortized 💘
a horror-romance visual novel by me and Vich
✦ stickers / outfits / lots of choices and bad ends
coming soon. for now…wishlist on steam and watch this beautiful trailer or we will hurt them. we will hurt them so bad
Fashion. Corruption. Malice. A girl detective faces her darkest mystery yet, in this horror-romance visual novel with stickers, outfits, and
music by Lauren Bousfield, who does the soundtrack! along with Ada Rook, Ash Nerve, and ESPer99
Neca won't make an ultimate Herbert West so I'll just have to do it myself. Behold my custom ooak Herbie figure! He is not perfect but he exists and that's all I care about, he is made from pieces of different figures which I will go into more detail about when I eventually make a full showcase post where I display him as if he's a proper Neca esq figure with all the bells, whistles and the accessories for him that I'm still working on (including items such as serum bottle, anti-plagiarism shovel, reanimated Rufus and more!) . For now I am just excited he's done so pls enjoy some shots of him and my customized Ash.
it's really interesting to me that it seems like evil dead burn picks up a thread from the first evil dead movie with ash's inaction for most of the movie reflected in joseph's inaction. it's the main character arc of the original movie and in following with typical "final girl" character conventions (described in carol clover's her body, himself in men, women, and chainsaws re: gender in slasher movies) for the surviving character to go from passive to active, feminine to masculine so to speak, so ash's character development is about him like stepping up and "becoming a man" basically (which, again, per clover, is part of what the final girl trope is about as well). but he's not able or willing to step up until it's just himself and scott left, he doesn't listen to his sister's warnings and he's not able to protect his girlfriend. okay and don't come after me for this opinion i know this is like a cult classic movie with a lot of fans, but it's also a movie that's very entrenched in the male pov where the pain that befalls the female characters serves to further the development of the male characters, and this has just never sat right with me but like it's a product of its time or whatever. so i feel like evil dead burn is a sort of updated take on these writing choices. this same type of inaction is problematized through joseph, who owns a gun to feel badass but can't use it when he needs it to save his girlfriend. on one hand, we can sympathize that he doesn't want to shoot his own father and has to make a split second decision. on the other hand, we see that he is complicit in the patriarchal violence that is normalized in his family and repeatedly won't intervene on behalf of the women impacted, like he does nothing to intervene when he knew that his brother was abusing alice. then, as his girlfriend points out as a deadite, it's easier for him to kill her to save himself than it is for him to kill his father to save both of them. and the moment where he actually kills her is framed as being extremely disturbing to his mother and alice as well as himself, not just because of the gore but also because it's like such an over-the-top explosively violent moment that is much more involved than just pulling the trigger of a gun. it's the moment where, like ash in the original movie, he is finally able to act, and maybe it's necessary in that moment, but there's no catharsis or solution in this action. also, joseph is the character most aligned with his grandfather, who abandoned the family in the name of protecting them when all he did was burden his daughter with taking on the sole caretaker role of the family and leave them vulnerable to harm. i feel like the commentary here is 1) inaction also contributes to the cycle of violence, and 2) in traditional patriarchal family structures, men do not fulfill their alleged roles as protectors of their families when it doesn't serve them. so like joseph and his grandfather are foils to will and his father, who directly enact violence within the family. you can fail your family by hurting them or you can fail your family by failing to protect them from harm. and men have more allegiance to the other men in their family than they do to the women in their family. okay and i don't totally think it's so black and white in the movie, i think joseph is still a multifaceted character that the audience can feel aligned with, and by the end of the movie, he is able to step up to try to keep alice safe and give her the best chance possible for her to find the knife. which is maybe a modified version of ash in the original movie stepping up to save himself. idk these are my thoughts rn i feel like i want to watch the movie again to clarify some of these ideas for myself but i'm thinking about it. well also what do we think about joseph wearing blue (ash's color) until halfway through the movie after he kills his girlfriend as a deadite (his ash-like character arc). am i reading too much into it and the curtains sweatshirt is just blue or what
SYNOPSIS: Seeking solace following her mother’s passing, Ellen moves to a quiet rural community. Her domestic peace is interrupted by a plea from family to care for her cousin, Winthrop, who is grappling with significant personal and psychological trauma. Their fragile stability is upended by the appearance of Vahana, a neighbor whose erratic and bizarre behavior feels immediately ominous. Vahana’s warnings regarding Winthrop’s potential for danger only deepens the tension as Winthrop’s unexplainable action escalates. When Winthrop suddenly vanishes, Ellen is forced to confront a Pandora’s box of otherworldly threats. In her desperate search, she discovers a malevolent entity pursuing her cousin and a group of enigmatic individuals who may possess the only means to save his soul.
REVIEW: Having previously helmed films like “The Last Exorcism” and “Prey For The Devil,” alongside directing for AMC’s “Fear The Walking Dead,” Daniel Stamm returns with his latest project. The filmmaker delivers a cinematic translation of "Lockbox," an installment from the highly regarded Knifepoint Horror podcast created by Soren Narnia.
The original podcast installment mirrors a true crime narrative. In this cinematic translation, much like the podcast, the focus is on Ellen, a compassionate and nurturing presence. Winthrop is presented as a fractured individual, visibly burdened by past trauma and psychological distress. The arrival of Vahana introduces an immediate sense of unease, as her bizarre efforts to befriend Ellen seem like a calculated attempt to reach Winthrop, who remains cautiously distant. Following Vahana’s sudden disappearance, Ellen’s search for answers uncovers a Pandora’s box of escalating supernatural threats and erratic behavior from her cousin. These events eventually draw Winthrop toward an enigmatic collective of modern exorcists and scientists who are convinced he is host to a malevolent entity. As they prepare a desperate ritual to reclaim his soul, Ellen’s faith is tested and she must decide what she is willing to sacrifice for her cousin.
The film’s overall aesthetic leans toward that of a Lifetime television production. While the screenplay devotes considerable runtime to developing its central figures, Ellen remains the primary focus while Winthrop frequently borders on being a genre archetype. Having felt compelled to listen to the podcast after this viewing, it is evident that the original Ellen possesses more depth than her cinematic counterpart. Furthermore, while the collective of modern exorcists and the young boy introduce intriguing elements, their backstories are noticeably sparse. The resolution ultimately arrives with a sense of convenience, leaving the narrative feeling somewhat nicely wrapped up and feels a bit too neat.
The production is restrained, largely devoid of coarse dialogue or visceral imagery. Both visual and practical effects are executed with a minimalist touch. During the narrative’s pivotal sequences, the staging adopts a utilitarian quality that fails to evoke significant tension or genuine scares. The cinematography is simple, lacking the stylistic flourish necessary to imbue the scenes with a palpable atmosphere. Matthew Rogers’ musical contribution remains largely imperceptible; though present in certain intervals, it misses the opportunity to heighten the film’s emotional beats. The production design utilizes some intriguing settings, yet the climactic confrontation between Winthrop and the young boy suggests a lack of creative vision and/or the constraints of a depleted budget.
Having previously helmed other feature film projects, alongside his contributions to episodic television, Daniel Stamm’s body of work often reflects a distinct creative signature. However, in this cinematic translation of "Lockbox," that certain je ne sais quoi which typically distinguishes his direction is noticeably absent. The film functions as a remarkably literal, almost verbatim recreation of Soren Narnia’s podcast, suggesting Stamm may have operated as a director for hire with limited creative control. The production mirrors the polished aesthetic of his television efforts, the overarching tone feels more aligned with a specific producer-driven vision rather than a singular directorial voice. Ultimately, the direction remains competent, and the screenplay offers a utilitarian, highly practical adaptation of the source material.
LOCKBOX presents a curious narrative that ultimately results in a mediocre translation of its source material, failing to elevate the essence of the original podcast. The collective talents of Daniel Stamm and his ensemble cast remain largely untapped, delivering a story where the supernatural components feel like a mere afterthought. While the narrative remains intriguing, the ensemble of modern exorcists, research scientists, and the young boy represents an untapped opportunity for a significantly more profound and immersive cinematic experience.
CAST: Carla Gugino, Lou Taylor Pucci, Katharine Isabella, Aeden Edwards; Darcey Johnson, Kevin McNulty, & Madeleine Kelders.
CREW: Director - Daniel Stamm; Screenplay - Soren Narnia & Justin Yoffe; Based on Soren Narnia’s Knifepoint podcast; Producer - Kearie Peak; Cinematographer - Alfonso Chin; Score - Matthew Rogers; Editor - Bridget Durnford; Production Designer - Daren luc Sasges; Costume Designer - Vladimir Markovich; Makeup FX Designer - Joel Echallier; Visual Effects - Ingenuity Studios, LLC
OFFICIAL: N.A.
FACEBOOK: N.A.
X: N.A.
INSTAGRAM: N.A.
RELEASE DATE: In theaters July 3rd, 2026
Reviewed By: Joseph B Mauceri
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Companion (2025) and Obsession (2026) would be an awesome double feature.
I find it intriguing how once again the horror genre is reflecting on societal fears, particularly when we've been seeing this increase in blatant, unapologetic misogyny and young men seemingly refusing to accept women are actual autonomous human beings who by and large are increasingly unwilling to put up with the BS women are just kind of expected to accept will be the unavoidable reality of dating men.
Both the male leads in Companion and Obsession would never think they're a "bad person". They believe they deserve their perfect dream girls and it boils down to entitlement and not wanting to put in the effort and care to make a relationship work. Their idea of a "true love" is in the form of a beautiful young woman who can't object, won't argue, or ask anything of them. They don't have expectations to be met, standards to measure up to, or challenges to rise to. Boundaries? Respect? Partnership? Chemistry? Pfft, why would she need those things? He's a really nice guy! That should be enough, right?
Anyway, go watch Obsession. It's disturbing and funny in the best way and it's criminal that Inde Navarrette probably won't get the recognition she deserves for this phenomenal performance.
titsay
romaincrisis
yousharknotpass
