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Vinegar Syndrome's maiden production, Eight Eyes, is a love letter to horror -- specifically the grindhouse and exploitation films of the 1970s. Although the film is set in modern times, the 16mm shooting gives it a grainy, retro quality which any lover of old school films will undoubtedly appreciate. The occasional glimpses of modern tech provide a jarring (though not in a bad way) reminder that the action is not actually set in the '70s. The retro vibe is not overdone, however, and the film, although paying tribute to many other films, has a voice entirely its own.

For some, the first act will be the more effective. It is relatively slow-paced, building tension with a familiar scenario: an American couple tour the Balkans (Serbia) and meet an enigmatic local. We do not know what lurks behind Saint Peter's apparent hospitality, but we know it is not anything good. Had I stopped watching at this point, I would likely have rated this film only a 6, ot 7 at most. I can appreciate an effective slow-burn, but the second act is (for me, anyway) truly where Eight Eyes' strength lies.

Without giving too much away, it pays clear homage to Texas Chainsaw Massacre, while incorporating a trace of cosmic horror. This is delivered in excellent, jittery technocolour, giving the film a twist that is not only original, but a visual treat. It also boasts some wonderful set pieces. Some things are, however, left to the viewer's imagination, so for those looking for an film that prioritises tight storytelling, this one may lean too heavily towards style over substance. However, for horror fans who want to see a new twist on what we love about the grindhouse era, Vinegar Syndrome has risen to the challenge admierably.

I neither loved nor hated this film. As a horror film on its own merits, it was enjoyable, perhaps even a cut above average. However, it lacked the "oomph" factor, and one cannot help but compare it to other films in the Evil Dead franchise.

First off, the good: Unlike some others, I took no umbrage to the change of setting. Apartment complexes can offer their share of claustrophobic atmosphere, which the film occasionally used to good effect. I particularly appreciated the nod to the Shining that this setting facilitated.

I really liked the monster design --if not necessarily the execution-- at the end of the film.

Overall, the film was fun.

Now for the the not-so-good.

For all of the blood, the film simply had no "grit." This is indicative of the use of CGI in horror films; the end result is slick, over-produced and ultimately totally underwhelming. I couldn't help but to hanker for the use of stop-motion miniatures of the original ED. Sure, they looked fake. But they were REAL, tangible and captivating.

Secondly, as many others have noted, the film lacked memorable characters. There were some political undertones that were slightly irritating for me, but many will not pick up on these, and they ultimately did not ruin the film. More dosappointing was the relative lack of humour with which EDR saw its mostly female cast battling the undead.

Finally, the lighting (or lack thereof) was rather annoying and reminded me of the blue filter so common in early 2000s horror movies. In short, however, this was all secondary to the absence (or minimal presence) of practical FX. Evil Dead has never been known for its deep characterisation, profound plotlines or social commentary. Nor should it. But without tactile gore, the experience felt oddly empty.

I write this review not because this is a particularly good film, but to counteract some of the (in my opinion) overly harsh reviews and the overall low rating. If even Ed Wood's films can crack the 3/10 mark, surely Frankenstein's Great Aunt Tillie deserves its due. Firstly, this film contains Donald Pleasance in a maid's costume - this alone is worth 2 stars. Throw in some questionable period set pieces, incompetent government officials, an actress who is far too, shall we say, 'buxom' for the early 20th century setting, and some particularly bad monster make-up -- what's not to love?!

In the vein of spoof films of classic monster films (i.e. Young Frankenstein), Frankenstein's Great Aunt Tillie, directed by Yvonne Furneaux, does not have any pretentions to being a 'good' film. Whether or not the comedy is intentional or unintentional, the film offers up a big fat slice of delicious 80s cheese. For fellow fans of trashy film, this one deserves more recognition. After all, they don't make 'em like this anymore!