And a short that was released a couple of days ago:
Two New Releases from RiffTrax…A full-length riff:
And a short that was released a couple of days ago: 3 Replies to “Two New Releases from RiffTrax…”Commenting at Satellite News
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TV Guide rated it two out of five stars, writing: “The awkwardly titled eighth film (!) in the Amityville series has its moments but adds little to the franchise or the horror genre in general.”
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Trivia from IMDb:
For the 360-degree rotating shot of the family eating breakfast at the kitchen table, a hole was cut in the center of the table so that a periscope lens could be stuck through it. Cinematographer Thomas L. Callaway sat under the table, surrounded by the actors’ legs, and manually rotated it as he shot, becoming tangled in wires as he did so. He was only able to shoot two or three takes.
Lisa Robin Kelly’s burn makeup took about two and a half hours to apply.
Contrary to some plot summaries, director/producer Steve White says the movie is not meant to take place on the grounds of the original house in Amityville. The only connection is that the dollhouse replica of the house had presumably been in the home in Amityville at some point, and was infested with its evil, though he admits this was not explained in the film itself.
The budget for the film was meant to be $1 million, but production ultimately went over-budget. As a result, Steve White forfeited his director’s fee.
The trio of demons in the climax were made by mixing and matching various pieces of props, costumes, and makeup that S.O.T.A. FX had already created for earlier projects and still had lying around. Due to budgetary constraints, the original plan had been to simply use static cardboard cutouts shot in silhouette.
According to Steve White, Clayton Murray remained in-character as the undead specter of Jimmy’s father whenever he had the makeup on, even when the cameras were not rolling. He would crack various dark jokes around the set, and White compared him to “an early version of Deadpool.”
Steve White, who had a long career as a producer but no directing experience, left much of the technical work to cinematographer Thomas L. Callaway. Callaway made the shot lists and handled the blocking, camera placement and such himself.
Much of the film was shot on location at a real newly-constructed house in Santa Clarita, which the owners had not yet moved into. According to cinematographer Thomas L. Callaway, although the house was very large, all of the bedrooms were inexplicably tiny, which made shooting in them very difficult. Where the script required larger interior rooms for effects sequences, they were built on a studio stage.
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Goofs from IMDb:
(at around 31 mins) When Bill is talking with Jimmy after the incident with the rat, the tip of the boom mic is visible.
(at around 1h 16 mins) When Bill gets trapped in the garage, the mic is reflected in the front windscreen.
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