Headless (2015)

• Year: 2015
• Released: 28 Feb 2015
• Country: United States
• Adwords: 5 wins & 5 nominations
• IMDb: https://www.imdb.com/title/tt3922350/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/headless
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: N/A
• Genre: Horror
• Runtime: 85 min
• Writer: Nathan Erdel, Todd Rigney
• Director: Arthur Cullipher
• Cast: Shane Beasley, Kelsey Carlisle, Ellie Church
• Keywords: exploitation, gore, eyeball,

4.9/10

Headless Storyline

After unearthing the terrifying lost slasher film from 1978 called “Headless” in Found (2012), the caged and sexually abused young boy has now become a deranged skull-masked serial killer. Always on the hunt for unsuspecting young women, the Killer abducts and tortures his beautiful and helpless victims to death, savouring his absolute control over their mutilated bodies. Behind his repulsive blood-drenched mask, the deranged torturer is invincible. Now, he has set his sights on capturing the hard-working roller-rink attendant, Jess. Will her blonde-haired head end up as the Killer’s latest trophy?—Nick Riganas

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Headless Movie Reviews

Bloody, violent, uncompromising and yet a fun ride for seasoned horror fans

Headless is Found’s perfect sister film, a much anticipated tie-in that has so much to live up to. Scott Schirmer’s Found (2012) took the horror world by storm, sweeping up dozens of awards at film festivals and gaining an instant cult following. Headless is Found’s “film within a film”, a no- holds barred, ’80s nasty that pushes the envelope of good taste and has a lasting impression on at least one of its viewers.

To produce a stand-alone, full-length movie of Headless is no easy feat. Headless needed to shock on a visceral level whilst maintaining the original film’s dark psychological edge and taboo themes. With expectations high, the potential for failure and disappointment was very real. The good news is that Headless delivers the goods. Scott Schirmer passes the directorial reins this time around to Found’s special effects director, Arthur Cullipher, whilst maintaining co- producing responsibilities with Kara Erdel. The Found army can breath a collective sigh of a relief. The combination of talent here is a winning formula.

Headless is fast-moving, bloody beyond belief, boundary-pushing (there’s one particular act of carnage that I’ve never on screen in such candid and unflinching detail before), psychological, hallucinatory, surreal and unpredictable. It manages to honour the themes of its predecessor whilst adding something new to boot.

The entire cast is excellent but special mention must go to young Kaden Miller for his chilling performance as the Skull Boy. The character’s physical presence takes the movie to another level. It’s a jaw-dropping pièce de résistance. With the presence of this character, we witness the killer’s (played by a truly believable Shane Beasley) ride into a hellish insanity.

As an aside, I hadn’t expected to see this movie so soon. At around 1.00am on a cold February morning, I realised I’d received an invitation to catch a preview screener of the film. Sleep was put on hold until the film had been devoured. In a way, this is how Headless should be viewed. It is a midnight movie, through and through. Perfect entertainment for a gathering of gore- hounds or the genre enthusiast who needs something new to rekindle his love of the modern horror movie.

Whilst being released in 2015, the ’70’s (and early ’80’s) atmosphere is soaked into every frame. With faux print damage, big hair, cheesy dialogue and zero political correctness, this is like uncovering a hidden gem in a filmmaker’s cupboard. If The Texas Chainsaw Massacre and The Last House on the Left married and had a child, its name would be Headless.

9.5 out of 10. Close to indie perfection, this is unmissable. From the moment the credits start, your senses are reeling from the physical insults delivered to the characters from the original Headless footage. Nasty but nice.

Extremely gory throwback slasher fun.

Headless began life as a fictional film within a film: an obscure late-70s slasher featured in 2012 indie horror Found. Now, as the result of a successful crowd funding campaign, it has been turned into a movie in its own right—a gloriously demented, retro-styled gore-fest that holds nothing back in its depiction of a mentally deranged and extremely vicious, mask-wearing, machete-wielding killer at work.

Director Arthur Cullipher starts as he means to go on: before the opening credits are over, he’s already shown us a disgustingly gruesome decapitation, his antagonist (Shane Beasley) proceeding to scoop out and eat an eyeball, before boning the severed head in the neck—the killer’s preferred modus-operandi. And so it continues, with numerous nubile young women meeting the same grisly fate, the wholesale slaughter interspersed by freaky hallucinatory scenes and disturbing memories from the killer’s childhood, when he was caged like an animal by his mother (Emily Solt McGee) and tormented by his sister (Olivia Arnold/Jessica Schroeder).

It is through one of these flashbacks that we see how the sadistic sister made the mistake of unlocking the door to her sibling’s prison; unsurprisingly, the lad seizes this opportunity to rid himself of both his tormentors, and, accompanied by his imaginary friend, a small boy with a skull-head, sets out on a long and bloody path of murder, one that ultimately leads to a roller rink where he targets the employees, including pretty waitress Jess Hardy (Kelsey Carlisle). Will Jess’s decapitated and defiled head be added to The Killer’s collection, or can she turn the tables on the sicko?

From the outset, Headless does well to capture the atmosphere of a genuine 70s slasher, with a gritty lo-fi look, great attention to period detail, and authentic sounding music. The film also delivers plenty of impressive old-school practical effects, although the level of depravity on display is far greater than anything I have ever seen in a genuine slasher from the purported era—even the most extreme examples. Not that I’m complaining: it’s the mean-spirited violence and general deviancy that makes this such a blast…

How could any self-respecting gore-hound/sleaze-fan not have a good time with the following: horror hottie Haley Jay Madison getting a machete up the holiest of holies, before having her breast sliced off, and losing both of her legs to the madman; The Killer using a pretty hitch-hiker’s head to get his rocks off on a pile of dismembered corpses; the twisted sister quenching her caged brother’s thirst by urinating on him; the mother feeding her son a freshly severed rabbit’s head; Jess’s waster of a boyfriend having his junk cut off; The Killer doing his special routine on his own mother (including boffing her bonce!); and roller skate-wearing waitress Betsy (Ellie Church) doing the dirty with her sleazy boss before being chased topless across the roller rink by the killer. Trust me when I say that it’s ALL done in the worst possible taste.

My only complaint with the film—and it’s a small one—is that the whole ritual of decapitation, eye removal, and head-humping eventually becomes a little too repetitive. I know it’s The Killer’s signature (and an unmistakable one at that), but I’d liked to have seen him switch things up a bit. After all, variety is the spice of life—even for a criminally insane mass murderer with a creepy skull-headed boy for a best friend.

Holy Hell! What was THAT?

The Plot.

In this “lost slasher film from 1978,” a masked killer wages an unrelenting spree of murder, cannibalism, and necrophilia.

But when his tortured past comes back to haunt him, he plunges to even greater depths of madness and depravity, consuming the lives of a young woman and those she holds dear.

This film is unrelenting and border on those classics of the 70s like I Spit on your Grave for it’s depravity.

It is one sick movie that is some how mesmerizing and oddly touching, as the plot unfolds with flashbacks that tell us how this sicko got this way.

I could not take my eyes off it and there is very very little dialog.

It’s a must see.