Tag Archives: adrian langley

A Symphony in Splatter: Langley’s Butchers Trilogy Goes for the Jugular

10 Saturday May 2025

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Director Adrian Langley stays true to his blood-soaked roots in this gleefully gruesome third chapter.

In a genre that thrives on extremity, Adrian Langley’s Butchers trilogy has carved out its own brutal little niche—one not of narrative elegance or thematic innovation, but of bone-crunching, limb-lopping, nerve-shredding excess. With Butchers Book Three: Bonesaw, Langley stays the course, offering up another round of down-home horror where pain is inevitable and escape is unlikely.

Gone are the niceties of plot complexity or emotional nuance. In their place: sinew, shrieks, and gallons of the good stuff—practical effects and prosthetics that drip with a kind of DIY devotion rarely seen in modern horror. Langley doesn’t just lean into the gore; he practically does a cannonball into it. This time, his antagonist is a grotesque butcher on wheels, hacking through anyone in his way from the confines of his roving abattoir van. It’s ridiculous, yes, but it’s also grotesquely entertaining.

The story, such as it is, follows three women caught in the butcher’s path and a small-town sheriff who attempts to make sense of the carnage. There’s a familiar structure here—the cat-and-mouse setup, the slasher’s calculated chaos—but Langley’s real interest lies in the carnage itself. Heads roll. Limbs drop. The camera rarely flinches, and neither does the director.

Where the film stumbles is in its limited character development and tonal rigidity. The sheriff subplot adds some much-needed shape, but our protagonists exist mostly to scream, bleed, and be pursued. Still, in the context of a trilogy where spectacle has always trumped subtext, Bonesaw feels like a natural and—dare it be said—confident culmination of Langley’s rural carnage canon.

This isn’t horror that aims for atmosphere or metaphors. It’s red meat cinema—satisfyingly gnarly, grotesquely tactile, and proud of its splatterpunk DNA. In an era of glossy elevated horror, Butchers Book Three proudly remains low to the ground, in the dirt and the blood, where it has always belonged.

The Prognosis:

Not for the squeamish, but for gorehounds and genre loyalists, Langley delivers precisely what’s on the tin—if that tin were dented, rusted, and soaked through with blood.

  • Movie Review by Saul Muerte

Movie Review: Butchers

Movie Review: Butchers Two: Raghorn

Movie Review: Butchers Book Two: Raghorn

25 Sunday Aug 2024

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Director Adrian Langley seems determined to step beyond mediocrity with his Texas Chainsaw Massacre-inspired Butchers trilogy. The second installment, Butchers Book Two: Raghorn, was released on Home Entertainment this month and continues the familiar theme of a small group of youths who break down in the middle of nowhere, only to encounter some unscrupulous, unsavory characters with a taste for human flesh.

This time, Langley takes a slightly novel approach with his core group of protagonists: Sarah (Hollie Kennedy), her cousin Josh (Sam Huntsman), Rico (Miguel Cortez), and Brian (Dave Coleman). The group hatches a plan to kidnap and ransom Ash (Corgand Svendsen), a wealthy child whose parents might pay a hefty sum for their child’s safe return. However, their grand plan quickly unravels when their getaway vehicle crashes headlong into a buck in the backwoods. This collision leads to an encounter with Clyde (Nick Biskupek), who takes charge of the situation, turns the tables on the group, and leads them back to his lair. There, Clyde, with the help of his brother Crusher (Michael Swatton)—a name that directly references his preferred method of dispatching victims—unleashes unspeakable forms of torture.

What struck me about the first film in the series was that, despite being fairly average, it resonated in a way that hinted at something more promising bubbling beneath the surface. It was brutal and savage, traits that Butchers Book Two: Raghorn also boasts in abundance. However, while the sequel continues to glorify gore, it feels as though someone has shifted the car into neutral and is content to coast along without making any real impact. What this film desperately needs is a monstrous obstacle—a metaphorical buck in the road—to jolt it out of its complacency and allow the carnage to truly unfold.

Unfortunately, each character in Raghorn feels a bit one-note, making it difficult to care about who survives. The film attempts to build hope through the character of Ash, a gender-fluid individual who could have added a compelling layer to the narrative. However, Ash is left on the sidelines for far too long, making it hard for the audience to invest in their ordeal or root for their survival.

The Prognosis:

Butchers Book Two: Raghorn represents a missed opportunity to elevate the profile of the Butchers trilogy. While it delivers a steady supply of brutal and torturous events, these are not enough to compensate for the weak characters and ultimately mediocre plotline. Let’s hope that for the conclusion, Langley steps up his game and delivers the satisfying climax this series needs.

  • Saul Muerte

Movie review: Butchers (2023)

09 Saturday Sep 2023

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It’s clear from the get-go that this film is Director Adrian Langley’s love song for The Texas Chain Saw Massacre. Butchers follows a similar path, or should I say journey?. as we follow a small group of friends travelling across the remote Canadian landscape when their car breaks down ala Wrong Turn. Instead of inbred hillbillies, they encounter a pair of sadistic butchers who have taken the law into their own hands. If anyone dares to enter their domain, it’s fair game and there’s a strong possibility that they could be carved on the cutting block

While it tends to stick along the line of predictability, there is a little more going on beneath the engine of a cannibalistic gorefest. Langley and his writing partner Daniel Weissenberger take the literal concept of butchery to the extreme as the barbarous Watson brothers, Owen (Simon Phillips) and Oswald (Michael Swatton) take pleasure in kidnapping and impregnating women with plans of breeding them for more meat. This warped outlook makes for gruesome viewing in spite of walking the all-too-familiar lines of a well-trodden formula.

Naturally, our would-be-victims fight tooth and nail for survival, making ridiculous choices along the way to meet their demise, including battling their own internal conflicts,  but the performance holds strong enough to keep you engaged throughout, most notably Phillips’ smart and gruelling butcher and potential final girl in the mix, Julie Mainville.

The Prognosis:

Much like his more recent feature Bunker, Adrian Langley offers a mediocre-yet-fun movie that puts the characters through the paces. The tension mounts with a steady pace, and the conflicts are torturous on the right side of entertainment. 

It may not offer anything new or even stretch the realms of originality, but Butchers is a tough ride that will apply the hook and keep you gripped to the end.

  • Saul Muerte

Butchers is currently streaming on VOD and available for Home Entertainment.

Movie review – Bunker (2023)

08 Saturday Apr 2023

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There will always be an infinite fascination with the evil of mankind and this association with humanity’s most extreme atrocities that were carried out with the Second World War by Nazi Germany. And not for the first time, the horror film genre takes this theme and plants a group in an isolated environment where they are trapped from any hope of escape.

This is the basic premise for Bunker, where a group of soldiers embark on a mission that takes them deep in the trenches of a war-torn land and ventures into the titular bunker. Once underground and retreating from the torrent of carnage above they find something far disturbing and cataclysmic.

The warning signs are there for the squadron, charged with the mission as the trenches appear deserted and the bunker in question barricaded by the Nazis from the outside. There must be something truly evil to break fear in mankind’s darkest tribe.

Once inside, the troop encounters a German officer, Kurt (Luke Baines) constrained, (another clue to the danger they are yet to face) and slowly they become fractured and the bond much needed to survive becomes frayed. This is no longer a physical conflict but a psychological warfare, where they must use their wits and prevent any external threat from entering their minds. Is this a case of Post Traumatic Stress Disorder in the works? Or is there something far more sinister at prey?

The Prognosis:

The feature is a little on the lengthy side for what is essentially a psychological trauma flick placed in a darkly, destructive setting. While the characters could have more depth to them, Patrick Moltane’s Lt. Turner is delightfully twisted and you can see the fun being played in his portrayal of the commander of the group. 

If there was a little more attention on character to provide substance to the piece, and some time shaved off from the running time, Bunker could have been a worthy watch. Instead it’s just average viewing. 

  • Saul Muerte

Bunker is available on TELSTRA TV Box Office, Google Play, YouTube Movies, Fetch TV, and iTunes.