Blood Clots: Serves Up A Clever, Entertaining Variety of Stories

Blood Clots Film Details, Freedom Cinema, Blood Clots


Luke Guidici

Evan Hughes

Patrick Longstreth

Robert McLean

Martyn Pick

Nick Spooner

Carl Timms

Sid Zanforlin


Chris Bovata

Guy Benoit

Kate Fitzpatrick

Luke Guidici

Airell Anthony Hayles


Evan Hughes

Patrick Longstreth

John Simpson

Nick Spooner

Carl Timms

Sid Zanforlin

Release Date: August 3, 2018

Release Format: VOD Platforms

MPAA Rating: Not Rated

Genre: Horror

Running Time: 1 hr 12 min


Featuring cannibals, zombies and other funny creatures, Blood Clots consists of seven carefully curated, bloody horror stories by seven different filmmakers.


Blood Clots is now available on Amazon Prime Video and Vimeo. The Horror production is an anthology of stories comprised by various Directors and Writers, curated by Freedom Cinema, and produced by distributor company Hewes Pictures.

Blood Clots Cast

Evan Arnold……Jay

Madalina Bellariu Ion……Nicoletta

Lillian Masie……The Triplets

Alexandra Octavia……Woman

Samantha Parry……Dinner Lady

Katherine Rodden……Davina

Harry Sinclair……Mark

Kristin Slaysman……Maureen

Brooke Smith……Diane

Roberta Valderrama……Virginia

CLOT 1: Hell Of A Day

Director: Evan Hughes

A woman who’s injured arrives at the Old Pike Inn, an abandoned, boarded-up building. She breaks in and discovers a man who’s unconscious. Venturing further into the building will be her mistake. After this chain of events, a daily timer starts. What could this mean? Things become clear when her sanity declines.

Hughes has shared a clever vision on the theme of Zombies. We are used to a great deal of gore, guts, violence, and action in most themed productions, while Hell Of A Day is more on the subtle side of the coin. This technique plays out in the restricted time frame it has. There is enough action and violence to satisfy the audience and avoid being a dull scene of a cat-and-mouse chase with lack of purpose.

Octavia does a great role and character-building performance. Most of this short film is silent aside from peak dialogue and the theatrical background scores, which are enough to entertain the audience, as they fit in well with the concept and they encourage the suspense and excitement. Her performance brings this production to life as she shows the distress of being in this situation, and the hell of a day she has, Freedom Cinema, Blood Clots

CLOT 2: Never Tear Us Apart

Director: Sid Zanforlin

Writer(s): Sid Zanforlin, Chris Bavota

We open to an intense scene, that I will call a throat-puncher, where a man is in a hostage situation. His attacker, who remains unidentified, ends his life in a subtle, but a brutal way. The scene cuts out. This is enough to create a rush of adrenaline in the viewer and a need to want more.

Fast-forward later in time. Two men are walking through the woods. They come to an eerie cabin that appears abandoned. However, a closer observation will show who lives inside and the sinister actions they keep a secret. This explains their need to remain isolated deep in the woods from the rest of the population. Or, should I say, “human cattle”?

Zanforlin produces a subtle, fast pitch story on the theme of Cannibals. The premise turns into a shocking conclusion that may send viewers a curve ball as it did for me. This production is also light on the violence and gore, however, the minimalist approach is still enough to satisfy the eyes, with the concept of cannibalism.

The amazing practical and special effects rule in Never Tear Us Apart. A lot of cannibal films are high in mediocrity due to cheap practical and special effects. Yet, Zanforlin shows just how important these areas are with themed films. It looks like a big investment in vision, time, effort, and money went into these areas., Freedom Cinema, Blood Clots

CLOT 3: Blue Moon

Director: Martyn Pick

Writer: Airell Anthony Hayles

We open the scene in the woods.  It looks like this production is taking a Found Footage approach, as we come face-to-face with a man, who’s recording for a show. The subject is a young woman. You can observe the man’s perverted personality as he gazes over her with sexual innuendos. This should send a red flag to her that he might be a scam artist. However, good judgments aside. Let’s continue on.

This scene jumps to a field of several parked cars and couples engaging in sexual activity. The man and woman approach this field. People in the cars come out and surround her, all filled with temptation. This is short lived as we witness our girl glance at the moon and turn into what the viewer can speculate.

Pick and Hayles collaborates on one of a few successful Found Footage productions. This concept is fragile because all the elements of movie production have to come together for it to even pass as a solid work of art. Put that up against the time restriction of a short film, and this is even more murky waters. It’s rare feature-length films can get this, let alone short length films. Yet, this duo makes it work in a way that’s pleasing on screen.


From the obvious title of Blue Moon, and from what’s known about the concept of Werewolves, it’s safe to speculate what went on here with the chain of events. Yet, some mystery and suspense still lingers in the moonlight.

As with just about every Found Footage production, the main course gets edited out of the picture. Even with the sure analysis from what’s observed, when this happens, I am one to let my curiosity run rampant. Basic knowledge tells me this is a Werewolf concept. However, without seeing the beast with my own eyes, I experiment with the possibilities of what else it could be. This is my frustration with Found Footage productions. The synopsis can say it in huge bold words, what the story is about, and what the antagonist is. Unless that’s shown on the screen, I will remain with a stubborn mentality of: “What if?”.

Speaking of the antagonist; this is one of the best protagonist turned antagonist events I have seen in a production. This reminds me of the scene from Michael Dougherty‘s Trick R Treat, which, if you have watched this film, you will pick up on while watching Blue Moon. The way Pick and Hayles’ production concludes is an interesting twist that will be a delight.

CLOT 4: Time To Eat

Director: Luke Asa Guidici

Writer: Luke Asa Guidici

We open to a quiet scene of a young boy playing alone in a house. He looks back at his mother who’s in the kitchen cooking. Notions for her to play with him, but she shrugs him off while she continues to prepare their meal. He loses his ball in the basement. The basement is dark and creepy. This looks to be the heart if the story as we witness tentacles shown. We see a minimal event that’s enough to raise eyebrows before it cuts out to focus on his mom, who notices her son’s absence, but not enough to raise suspicion.

Creeping from the basement, we get a closer look of the tentacles. It slithers it’s way towards the kitchen. What could this be? Further observation leads to a conclusion that’s mysterious and suspenseful.

Guidici, Yetiesque, and Punching Bees collaborate on a production that is appetizing enough to gain attention from the viewer, and satisfying enough to want more. This is just an appetizer that could open to a full course meal, yet, it concludes before we can even take a bite. This production holds a clever pitch to the concept of Monsters. Yet, it’s not clear what monsters this mother and son duo are.

The film is silent. This background theatrical score adds suspense to the story which ties in well with the mischievous behaviors of the young boy. The viewer focuses on him as he becomes the heart of the story since the beginning, and even when the camera shifts off of him, he remains the center of attention based on his whole demeanor which is a conflicting range of emotions that will give on the, Freedom Cinema, Blood Clots

From first glance, he appears lonely. The sudden disconnect from his mother gives a premature judgment of neglect. The quick lack of suspicion with her son’s absence brings about feelings of abandonment. Upon this event, the viewer may frown at the mother for being careless and heartless. Don’t judge just yet. There is more to this boy than preconceived judgment can foster.

This collaborative team introduces an appealing premise. The story is enticing. The conclusion sets the table. We need the story to continue further. Alas, we’re left with mouthwatering suspense, raised eyebrows, and empty stomachs.


Director: Carl Timms

Writer: Carl Timms

We open with a man in a daze. Is it a human? Is it a statue? Behind him, two men are in confrontation. A pan of the camera shows other people and a range of activities. From this point, it is unclear what is going on. A closer look at the events makes things more clear. A mass hysteria of zombies!

This is a clever approach to the theme of Zombies. The gold-painted man I couldn’t tell was real, or a statue is human, staging as a statue. This, I assume to keep himself safe from the horde of zombies that have run rampant around him, terrorizing and feeding on all the other bystanders who were not clever enough to come up with such a plan.

This man hold his facade as he witnesses the horrors that unfold before his eyes. He refrains from giving in to distractions that could cause him his life if the zombies notice him. The brief face-to-face with one of the brain-eating monsters adds intensity, as both are unwilling to give in. He is unwilling to give up the facade, and the zombie is stuck with the possibility he is human, so he keeps his stance on him, hoping he will break. This seems like long psychological battles between man and zombie.

Looks like this man isn’t the only clever one around. There is another man staging as a charcoal, painted construction worker. He wasn’t able to hold the facade as long as his acquaintance. The gold-painted man makes a run for it since the zombie breaks his focus on him.

Still is a clever title, and this production parallels the innovation. Here, we have another Zombie story that takes a path we don’t see too often in this theme. There are the violence and gore that’s seen in most zombie films. On the other side of the coin, there is a personal and psychological battle that us an event on its own, while all the chaos persists in the background. So, we’re looking at two separate chains of events happening at the same time.

In all Zombie productions, there is this notion to survive. This is a given. What’s intriguing in Still is this one lone battle where the victim does everything in his power to withstand and not give in to obvious human temptations. His motive is to remain this statue and remain Still until he is in the clear to attempt a daring escape to safety. One that is unclear whether he survives since the scene cuts out and it leaves the viewer to speculate.

Still is on the other end of the spectrum than our earlier film Hell Of A Day. The violence and guts are three times more clear here. The amount of zombies is ten times for hefty, resembling an actual horde than just a few lingering around. The action is more pumped.

CLOT 6: Hellyfish

Director(s): Patrick Longstreth, Robert McLean

Writer(s): Patrick Longstreth, Kate Fitzpatrick

We open with some facts from history that is intriguing. Are these genuine facts? Or are they fictional? We cut to a scene of a man and a woman on a small boat in the middle of an ocean. The man dives under. After some brief exploring, he discovers a mysterious item on the ocean floor. Dated six decades ago. It’s from the United States Department of Defense. Speculation assumes this ties in with the introducing facts of history early in the film. This discovery is short-lived as the man finds himself the prey to the creatures of the ocean. Hellyfish!

The film cuts to the present day. Visitors enjoying themselves on the beach. Unaware of the hell that awaits them. Here, the jellyfish are on shore with everyone and no one notices how dangerous they are. This vibrant scene turns cloudy as a horrible storm closes in. The jellyfish then comes out to play. And not the innocent playing. Chaos ensues as this becomes a war between humans and the jelly monsters from hell.

Hell has no fury on a monster scorned. Longstreth and Fitzpatrick collaborate on a story that raises eyebrows upon an initial look at the title but drops jaws from the starts of the main event. The makeup of the creatures is amazing. Even the giant monster sized jellyfish is intimidating given the awesome practical effects.

What’s even more beautiful here is the cinematography, graphics, imagery, and the background score that are all working together to create this harmonious, surreal work of art that plays a combination; a terrifying nightmare and a vivid dream. This is by far the best production I have seen about killer jellyfish. Beware. Hell has frozen over. Hellyfish is a treat that’s not to be, Freedom Cinema, Blood Clots

CLOT 7: The Call of Charlie

Director: Nick Spooner

Writer(s): Nick Spooner, Guy Benoit, John Simpson

We open to a subtle, but intense background instrumental music. Classical selections such as this always creep me out in Horror productions. It’s like a subliminal message that something major is about to happen. And, a lot of times, this is the case. The scene cuts to a couple talking. The woman mentions the name Charlie with distress. Speculating this ties in with the title of the film. They get a surprise visit from uninvited guests.

We get our first meeting with Charlie, who is half man, half…Cthulhu? This explains the title Call of Charlie. Clever twist here. We get another visitor, Maureen. This couple is setting Maureen and Charlie up on a blind date, yet, there is an awkward chemistry to the two that appears to work well.

Charlie is quite an off character. Aside from his physical appearance, one might base preconceived assumptions on what’s known about the Cthulhu legend. Yet, Charlie behaves like most human-creature mash-ups. He doesn’t side with either of his personalities too much, remaining neutral at first. As the night plays on, the events turn as one would expect.

Call of Charlie is a curveball production into this anthology of stories. This was the climax, and it was a grand finale in the sense I did not see it coming. The way they present the legend of Cthulhu in this production is clever. By this being my first time seeing Cthulhu on screen, I am intrigued.

Maureen was a sacrifice to Charlie but staged as a blind date. This is planned out, however, there could have been more from this sacrificial ritual event. The film ends and leaves the speculation up to the viewer. With the ending, one can assume what happened, yet, it’s not confirmed in this film.

In Conclusion

Blood Clots is a fun anthology that’s filled with creatures of all sorts. The stories take a more innovative approach. The creative teams craft these productions, taking extra consideration on the quality of every component of film making.


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