Movie: Myths & Mutants 2: Slaughter Grindhouse Edition (2026)

Premiere: March 31, 2026 
Country of origin: USA
Director: Ryan Cavalline
Writer: Ryan Cavalline
Production Companies: Legend Hunters Films
Distributed: Legend Hunters Films
Genre: Fantasy, Horror, Grindhouse
Runtime: 1h 33min
Starring:Peter Blessel, Nikki Carlson, Tommy Cooper

Some films connect, some films do not.
Some invite you in, some push you away.
Some feel effortless, some feel heavy in ways that are hard to define.
That is part of what makes cinema interesting in the first place.

In 2021 came Myths & Mutants, written and directed by Ryan Cavalline. I started watching it with curiosity, but it did not fully work for me. It presents itself as a kind of fake documentary about Myths & Mutants in Pennsylvania, but I struggled to stay engaged.

I tend to enjoy mockumentary style films, like Gummo (1997) or Forgotten Silver (1995), where the format creates something layered or unexpected. This one did not quite reach me in the same way. It might connect more with viewers familiar with Pennsylvania or more invested in its specific setting and tone.

This year 2026 came the follow up, Myths & Mutants 2: Slaughter Grindhouse Edition.
Yes, “Grindhouse Edition” is part of the actual title.

Thriller: A Cruel Picture (1973)

The poster immediately leans into a gritty, dirty visual style, clearly aiming for an exploitation inspired aesthetic. Like old kung fu films, damaged film prints, missing frames, burn marks, heavy grain. The kind of texture associated with underground genre cinema, where imperfection is part of the language.

The Karate Killer (1973)

Grindhouse itself was originally not an art movement, but inspired by films shown in cheap theaters. Often exploitation films that pushed boundaries in violence, nudity and shock value. Over time it evolved into a visual language of its own, later influencing filmmakers like Quentin Tarantino, who revisited that aesthetic in a modern context.

They Call Her… Cleopatra Wong (1978)

At the start of Myths & Mutants 2, the creators include a kind of dictionary style definition of the words myth, mutants, and grindhouse. 

The first story, Hans Trapp: The Cannibal Scarecrow, presents a folktale that at times feels inspired by figures such as Dracula and Elizabeth Bathory. Hans Trapp is portrayed as a greedy ruler living in a castle atop a hill who makes a deal with the devil and develops a thirst for human blood. As expected, such bargains come with consequences and Hans Trapp soon transforms into a relentless killer.

In the present timeline of the story, he moves through the world wearing a scarecrow mask, wandering through nature and killing anyone he encounters. He also appears to have a connection to the surrounding environment, with an ability to influence and manipulate vines, using them to trap and restrain people.

At the same time, we also follow a radio host trying to track down the truth behind the legend, attempting to uncover whether Hans Trapp is real. A kind of hunt for a story that may very well become lethal in itself.

 

In some ways, this reminded me of In a Violent Nature, where long stretches of quiet movement in natural surroundings are broken up by sudden bursts of extreme violence.

Some of the gore effects were genuinely impressive, while others were less convincing. What pulled me out of the experience, however, was something much more specific.

Having worked in some cinemas and having a fair understanding of how film projection works, I found myself distracted by the artificial film damage effects. Real film damage, frame jumps, scratches, or burn marks happen for specific reasons. I still remember the first time I saw a frame begin to burn in a projector. For a brief moment, I thought the projector itself had caught fire.

Because of that background, I struggled with the way the film mixed pristine digital imagery, modern visual effects, 4K quality, random scratches, static and damaged frames. To me, the effect felt inconsistent rather than authentic. That was clearly an artistic choice by the filmmakers, perhaps intended to create a certain atmosphere rather than accurately recreate a grindhouse print. Unfortunately, my own experience kept pulling me back to how these things would actually appear on film, making it harder for me to become immersed in the story.

Between the two segments, there is also an intermission presented in the form of a trailer for a fictional film titled Jesus Christ vs the Evil Clown from Dimension X – Vol 1.

It is exactly what it sounds like, a campy, over the top concept that leans heavily into 1970s style exploitation humor. Jesus Christ facing off against an alien clown figure, somewhere between science fiction chaos and horror parody. There is also a clear inspiration from Killer Klowns from Outer Space (1988) in its tone and visual absurdity.

In a way, this short trailer is one of the more consistent examples of the film’s grindhouse identity. It fully commits to the style without hesitation. It is a shame it was only a trailer rather than a full feature, because it had a strong sense of direction within its own campy framework.

The second story is called The Legend of the Pigman.

It is said a family was involved in an accident and now still moves around the borders of the farm, carving through the land. The warning is simple: stay away from that place.

This segment feels more grounded in its setup. There is a clearer motive from the beginning, following a man searching for a girl who is already shown early on to have been killed. Because of that, it follows a more traditional narrative flow compared to the first story.

At the same time, it still carries the same stylistic elements, with occasional missing frames and that familiar grindhouse texture. In terms of influence, it clearly draws from films like The Hills Have Eyes (1977), The Texas Chainsaw Massacre (1974) and Wrong Turn (2002). The killer is a masked figure in a pig mask, armed with a chainsaw, though he is not alone.

Compared to the first segment, this one felt easier to follow. The first story was more difficult for me to sit through, while this one felt slightly more controlled in its pacing and tone, even if the violence was still present and often quite graphic. Overall, it leans more toward a crime-like structure than a mythological one.

I guess I am more on the “mutants” side than the myth side when it comes to this kind of film language. Sadly, it did not fully work for me. I enjoy grindhouse style films, but this one did not quite land in the way I hoped. Still was somewhat fun to check it out, some of the gore was fun.  

3/10


Links:
IMDB:
https://www.imdb.com/title/tt39924102

IMDB to first movie
https://www.imdb.com/title/tt15180274

Homepage:
https://legendhuntersfilms.com

Facebook:
https://www.facebook.com/groups/1512567775625534

Article written by: Sonny Mikszath

Movie: Herman (2025)

 

Premiere: December 2, 2025
Country of origin: USA
Directed by: Andrew Vogel
Written by: Andrew Vogel
Production Companies: VP Independent, LBM Pictures
Distributed by: S&R Films
 Genre: Fantasy, Horror, Thriller
Runtime: 1 hour, 23 minutes
Starring: 
Colin Ward, Suzann Toni Petrongolo, Lawson Greyson, 
Alex James, Soni Theresa Montgomery, Lamar Alexander

Herman is the story of someone in a very dark place—and that place is becoming a physical manifestation. Imagine a low-budget Jacob’s Ladder or Silent Hill, and you’ll have the right idea of where it’s headed. The writer and director is Andrew Vogel, an independent filmmaker behind, VP Independent, a company in L.A. It’s never an easy job, but I hope they keep making their dreams come true, because Herman shows real promise. It reminds me a bit of Benson and Moorhead. And just like them, this film explores a supernatural story in a limited space with limited resources—and it’s very engaging as a viewer. So let’s get down to the plot!

Herman is an experienced old man, living in a secluded cabin in a landscape so remote that he barely meets anyone. Life is wearing him down, and he has hung a noose in his private study. Its shadow is visible through the window into the living room—a constant reminder. His past is tormenting him to the point where the pain becomes unbearable. One stormy night, there’s a knock on the door. Two nuns enter, and Herman must confront his past.

The film takes place mainly inside this cabin, and it doesn’t feel like a real place. It’s so isolated that it feels more like an emotional space than a physical one. It’s clear that Herman isn’t just mentally unstable—he seems forgotten, confused, as if he can’t place himself or his surroundings. He is lost. Colin Ward delivers a performance that is beyond great as Herman. There’s one scene in particular where he listens to a conversation between two other characters, and what they say triggers a chain reaction of powerful emotions within him. The way Colin expresses these feelings is like a boiling stew—pure perfection.

The film does have a problem that is common in this type of story. There’s a point where it feels like a scene is missing. The version I saw was a preview, so that could explain why it felt a bit off. The scene I’m talking about is where another visitor suddenly cries out that his girlfriend is dead—it comes out of nowhere, almost like a flash. The visitors in the cabin are also rather weak as characters. They don’t feel entirely real. I assume this was intentional, but it made some scenes feel a bit dull. The two nuns  are played by Suzann Tony Petrongolo and Soni Theresa Montgomery. And unfortunately, they don’t do much to me. The actors are doing a good job, but the characters don’t have that much to work with. The director plays a secondary character, and I think that role was a bit too obvious. It was used as a storytelling device more than a character. At times, the film overexplains its symbolism, which is always a tricky balance in films like this. Like any art form, it’s hard to know when you’ve gone too far. Thankfully, the film picks up again in the last half hour, but there’s about a 20-minute stretch in the middle that didn’t quite land for me.

The sound design is phenomenal. The dialogue is very clear, and the cinematography is stellar—far better than I expected.

7 out of 10. I know my rating might seem a bit low, but keep in mind that the positives outweigh the flaws. I would definitely recommend this to the right audience any day of the week.

Check out the companion video here with the writer/director/producer and Editor Andrew Vogel 

IMDB: 
https://www.imdb.com/title/tt34938727
Facebook:
https://www.facebook.com/profile.php?id=61559623590014
VP Independent: https://www.instagram.com/vpindie/

Instagram:
@vpindie
@andrewmakesmovies
@zanntoni

http://www.euroobscura.com/

Article written by: Robin Andersson
https://filmfett.wordpress.com/

Comic: Tara Togs - The Silence of Unicorns (2024) + Video

Original release: 2024 (Kickstarter)
Created by: Stref
Genre: Adventure, Mystery, Fantasy
Pages: 68
Publisher: ComicScene / Shift
Country: Scotland

Tara Togs began as a homage to the spirit of Tintin, carrying echoes of that classic adventure style while gradually evolving into something of its own. What started as a familiar foundation has since taken on a distinct identity, shaped beyond its original inspiration.

Created by Stref, a Scottish creator. 
The character first appeared in a short story titled Hot Dog, released through ComicScene. 

From there the project expanded into a Kickstarter campaign in 2024, which led to this first full adventure, The Silence of Unicorns.

Our story begins in Belgium in 1940 with a playful tone that carries through the opening. The humor is present from the start and establishes the world clearly. A valuable “horse” painting is introduced and quickly becomes a central focus, immediately setting up a sense of mystery.

We are then introduced to Tara in the present day in Scotland, specifically Tattiebogle, Edinburgh. She is an aspiring professional photographer, an ambition shaped by her late father, giving her a clear personal motivation from the outset. On a personal level, this connection resonated with me, reminding me of my own photography endeavors and my late father. Visually, she is defined by her distinctive appearance, particularly her twin ponytails, which evoke Pippi Longstocking.

 

The narrative follows a classic setup of being in the wrong place at the right time, where curiosity pulls Tara into situations she was never meant to be part of. As the connection to the painting becomes more relevant, Tara is drawn into the unfolding story, forming the foundation for the adventure ahead.

The mystery is cleverly built around a missing “horse” painting and a legendary “unicorn” painting, which together drive the story forward and create a strong sense of intrigue.

 

  

This is a full adventure, with car chases, gunplay, hiding, horse riding and more, along with encounters with a small but memorable cast. Among them are the private detective Heggy and the medium Lexi, who add personality and variation to the journey. We also get a unique side character in Major the talking myna bird, who brings an extra layer of charm. I always enjoy classic mystery tropes like a mysterious figure, who is only partially revealed throughout the story. By keeping him in the background, the story maintains intrigue and leaves the reader questioning his true involvement.

 

 

Tara herself stands out as both funny and quick-thinking. She feels resourceful and active, pushing the story forward rather than simply reacting to it. The action is well structured and rewarding to follow, making it difficult to stop. There is a strong sense of momentum that keeps you wanting to read on and discover where it leads.

The dialogue leans into Scottish and British flavor, with words like “bloke,” “golly,” and phrases such as “just the ticket.” At one specific point it was slightly challenging to follow, but it’s all fun, and it adds authenticity and strengthens the sense of place.

 

Visually, the scenery is well drawn, with strong attention to buildings, vehicles, and the overall environment. It creates a grounded and believable world that supports the story. Some of the designs, especially the cars, feel distinctive enough that they could easily translate into collectibles.

By the end, the inspiration becomes clear not only in tone but also in storytelling style, often associated with the ligne claire tradition. At the same time, it never feels like a copy, but more like a companion piece that stands on its own.

Tara comes across as a younger, more modern lead. While she may be in a similar age range as Tintin, she feels younger in spirit, giving her a different kind of presence in the story.  
 

 

10/10 - There is a real sense of joy, like finding something you did not realize you had been missing. It is an engaging and enjoyable read that leaves a strong impression and a curiosity for where Tara’s adventures might go next. It would be interesting to see a future adventure set in Sweden.

Following the release of the book, two short stories were produced for Aces Weekly: Tara Togs in Halloween! and Tara Togs in Lost Gold of the Forth.

 

 

  

 

An enhanced version of Hot Dog is planned to be included in the upcoming collection Tara Togs: Year One.
Look at the ongoing Kickstarter here: 
https://www.kickstarter.com/projects/comicscene/tara-togs-year-one 

In addition, a short parody strip titled Tara Togs and the Orange Dust Gang has recently been released in the comic anthology Falcon, offering a lighter, non-canon take on the character. 

 

 

If you got this far, now go back and look at the cover again for The Silence of Unicorns, there is 2 unicorns hidden in that image, can you find them...

Links:
Buy Tara comic here:
https://share.google/TBUu2AETEihRUlSFG

Facebook:
https://www.facebook.com/profile.php?id=100066742922160

Stref´s Instagram:
https://www.instagram.com/stref70/

Original kickstarter for The Silence of Unicorns:
https://www.kickstarter.com/projects/comicscene/tara-togs-the-silence-of-unicorns

There is also a companion video with Stref, talking about about the progress. 

Article written by: Sonny Mikszath

Movie: Lunamancer (2021) + Video

Premiere:
September 17, 2021 (Philip K. Dick Science Fiction Film Festival)
Country of origin: USA
Directed by: Noah Mucci
Written by: Noah Mucci, Matt Patterson
Produced by: Ooze Productions
Distributed by: Indie Rights
Genre: Drama, Thriller, Fantasy
Runtime:1h11min
Starring: 
Jake Pirkkanen, Nicki Clyne, Nick Denning

Sometimes you don’t find a movie, it finds you.

I was digging through filmography connected to Cannibal Holocaust (1980), curious about what
the cast had done before and after. That’s how I ended up looking into Perry Pirkanen. While
browsing, I came across Lunamancer (2021). I checked out the trailer and instantly got a bit of a
Falling Down (1993) vibe from it.

Out of curiosity, I got in contact with one of the writers, who ended up sending me a physical Blu-
ray copy for review. That alone already made the experience feel special.

What I didn’t realize until the movie arrived was something kind of funny. Looking at IMDb, I
noticed I apparently own every movie Perry Pirkanen has ever appeared in:
Not that many, but still.

All good movies too and all physical editions.

Cannibal Holocaust (1980) – Jack Anders

City of the Living Dead (1980) – Blond Gravedigger (uncredited)

Cannibal Ferox (1981) – Paul (uncredited)

Then next he can be seen in this Lunamancer , let´s see if we find him...
 
The film starts strong. I won’t spoil anything, but the opening works as a real hook. It immediately
makes you want to keep watching just to understand what’s going on. Then the music kicks in. Hard. By Composers Evan Michael Brown and Shayon Daniels. It has this powerful retro energy, almost like an epic thriller from the 80s. As the film goes on the soundtrack starts to feels like something straight out of Drive (2011), mixed with the synth-heavy atmosphere of Stranger Things. That blend works incredibly well and gives the movie a strong identity. 

The story follows Isaac Blake, a man driven by a strong grief. He’s searching for his missing sister, trying to understand what happened to her, where is she? Isaac is very unstable and believable. If someone close to you disappears, that kind of emotional breakdown feels real rather than exaggerated.

Based on the trailer, I expected something closer to Falling Down. What I got instead was a better
slower and more introspective drama-thriller with light fantasy elements woven in. The film leans
heavily into psychological territory. There are moments where reality feels uncertain, like memory
itself might be distorting the truth. That aspect gave me strong Silent Hill vibes, where you’re never
fully sure what is real and what is shaped by the character’s mind.

One thing that stood out was the use of VHS-style filters and flickering effects. It’s not overused,
but when it appears, it adds a layer of unease and reinforces the retro aesthetic.
There’s also a short crowbar scene that immediately brought to mind the famous hammer hallway
sequence from Oldboy (2003). It’s brief, but very well executed and visually striking.

Oldboy (2003)

The Blu-ray release includes a commentary and a VHS version of the film, which is a really nice
touch. It fully commits to the retro style the movie is going for and it shows that the aesthetic wasn’t
just a surface choice, but part of the film’s identity, I wonder if this is the original version...

Coming back to where this started, Perry Pirkanen plays Gordon Blake, Isaac’s father. Doing a sweet and nice role. It’s always interesting to see actors from older cult films appear in newer movies. One do miss that mustache right.

On another note the actress Nicki Clyne that played the missing sister Sue is famous for being in the Battlestar Galactica show. 

Overall, Lunamancer is a deeply atmospheric and emotional experience. It feels surprisingly
European in tone, even though it’s an American production. It takes its time, leans into mood and
psychology and trusts the audience to sit with its ambiguity.

Rating: 8/10 A slow-burning, stylish thriller that sticks with you.

 

Links:
IMDb - https://www.imdb.com/title/tt13635040
Homepage: https://lunamancer.com/
Facebook - https://www.facebook.com/lunamancer2023

A bit extra for this, it is a first even for the blog, a Companion video with the makers, where they talk about the movie, exclusively made for this article. Made after the article was written. 
 

Article written by: Sonny Mikszath