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The crowbar in Sunday Gold is a bonus item that can be collected in the Prologue for later use. In the initial scene of the game, players are introduced to Frank Barber, the protagonist who has just been kicked out of The Jolly Hangman Pub for participating in a bar fight. Players will find the goal of the Prologue is to get Frank back into the bar to meet up with Sally.

Sunday Gold is a point-and-click adventure game with turn-based combat that takes place in dystopian London in 2070. It follows a trio of criminals attempting to expose the dark secrets of an evil corporation and its billionaire leader. The Prologue of the game is designed to introduce players to point-click mechanics and RPG-like fighting to prepare them for the game's first major heist. Like any point-and-click/RPG adventure, the primary level of Sunday Gold features many challenges, bonus items...

Mario, Mario, wherefore art thou, sweet Mario? I imagine he’s dust by now, having passed away in 1980. His films, however, live forever. One that is rarely mentioned is his swan song, Shock (1977); a shame too, because it is much stronger (and more effective) than critics have labeled it through the years, offering up a melee of evil kids, possession, telekinesis, and other assorted sub-genres in a compelling way.

Released on his home turf in August, Shock didn’t receive an American release until March of ’79 under the title Beyond the Door II, cashing in on the hit from a couple of years earlier while nothing to do with said film. No matter what it was called, critics were unkind and the film floated into the ephemera of the occasional mom and pop video store. But time has been pretty gentle with a film unfairly compared to Bava’s earlier...

Special Mention: Clean, Shaven

Directed by Lodge H. Kerrigan

Screenplay by Lodge H. Kerrigan

1993, USA

Genre: Crime / Psychological Thriller

Lodge H. Kerrigan’s Clean, Shaven is not an easy film to watch. Kerrigan, who wrote, produced and directed this unsettling psychological thriller, traps us inside the mind of a madman for the entire viewing experience. Peter Winter (Peter Greene) appears to be a killer–even worse, a child killer–but not much about him is objectively clear, and we are never sure if what we are seeing is real or a product of his tormented imagination. The film heightens the tension by restricting its focus to Peter’s unsettling, confused, and angry view of the world. The most gruesome violence inflicted on Peter comes by his own hand. In the most unforgettable scene, Peter slowly mutilates his body in order to remove what he believes are a receiver in his...

Every year, we here at Sound On Sight celebrate the month of October with 31 Days of Horror; and every year, I update the list of my favourite horror films ever made. Last year, I released a list that included 150 picks. This year, I’ll be upgrading the list, making minor alterations, changing the rankings, adding new entries, and possibly removing a few titles. I’ve also decided to publish each post backwards this time for one reason: the new additions appear lower on my list, whereas my top 50 haven’t changed much, except for maybe in ranking. I am including documentaries, short films and mini series, only as special mentions – along with a few features that can qualify as horror, but barely do.

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Special Mention:

Häxan

Directed by Benjamin Christensen

Denmark / Sweden, 1922

Häxan (a.k.a The Witches or Witchcraft Through The Ages) is a 1922 silent documentary about the history of witchcraft,...

Throughout the month of October, Editor-in-Chief and resident Horror expert Ricky D, will be posting a list of his favorite Horror films of all time. The list will be posted in six parts. Click here to see every entry.

As with all lists, this is personal and nobody will agree with every choice – and if you do, that would be incredibly disturbing. It was almost impossible for me to rank them in order, but I tried and eventually gave up.

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Special Mention:

American Psycho

Directed by Mary Harrron

Written by Mary Harron

2000, USA

Bret Easton Ellis’s dark and violent satire of America in the 1980s was brought to the big screen by director Mary Harron. Initially slapped with the MPAA’s kiss of death (an Nc-17 rating), American Psycho was later re-edited and reduced to a more commercially dependable “R”. Perhaps the film works best as a slick satire about misogyny,...