The Dead Northern Horror and Fantasy Festival is coming back in 2024 – Expect a huge line up of new feature films, classic feature films, short films from some of the worlds best up and coming horror film makers, Q&A’s, live music, awards and our signature HORROR THEMED LIVE EVENTS.
Dead Northern is a Film Festival that pushes the boundaries and puts the FESTIVAL in the Film Festival! VIP Weekend Passes, day passes and individual screening tickets are available.
Details of the full line up released August 2024, limited VIP tickets available at a discount until 31 May 2024.
Late Night with the Devil sees the excellent David Dastmalchian as Jack Delroy, a 1970s host of the late night chat show, Night Owls. Desperate to gain viewers back after a tragedy in his personal life, Jack themes his latest episode around occultism, however, the broadcast goes horribly wrong when a possessed guest unleashes a world of hell.
The directing duo, Colin and Cameron Cairnes delivers a menacing and mischievous feast brimming with hocus pocus trickery that constantly deceives and takes the viewer on a rollercoaster of havoc as we see a talk show spectacle turn into a cinematic rendition of satanic-panic-like mayhem. Late Night with the Devil’s wacky, yet utterly malicious narrative takes shape due to its clever filmic development; the film immerses itself into its vintage layout, with the frame taking on a surprising found footage arrangement, but not how one would generally expect it to. In other words, instead of a small handheld camera capturing POV’s, the found footage lens is of a ‘lost tape’ that has been discovered by a group of current documentary filmmakers. It’s a unique breaking of found footage codes, shaking colloquial storytelling and providing a level of exciting mystery.
Shadowing the film’s fresh take on the diegetic lens is its meta-esque feel, thanks to the late night lost tape appearing as a live broadcast. Immediately, bells ring to the likes of Ghostwatch (1992), WNUF Halloween Special (2013) and Haunted Ulster Live (2023) all of which utilise an almost forbidden feel, watching realist-coded footage gone wrong. Late Night with the Devil joins these witty displays of interactive filmmaking that have created an intriguing and entertaining cinematic discussion surrounding participatory viewership.
Whilst it is certain to say that presenting the moving image as an unplanned, charged, live piece aids in the fright factor and immediacy of it all, what is not to be underestimated is how the film’s performances equally contribute to the overwhelming impact of it all. Dastmalchian shines on screen, taking the already fantastically written character and making the role come to life with his portrayal of a broken man attempting to redeem some form of oomph back into his career, only for it to all come crashing down in a great calamity. Further to this is the film’s ability to conjure a scare or two. It is also worth mentioning how the film does not solely rely on brief and rapid ineffective jumpscares to entice a shriek, instead, the scenes are crafted in a way that allows for slowburn reveals that act to chill rather than shout ‘boo!’.
Since the film’s premiere at 2023’s South by Southwest Film Festival, reviewers have raved about Late Night with the Devil, commending its distinctive atmosphere and novel style, yet there has been some commentary regarding its use of CGI. Despite the beloved (and deserved) reputation of practical effects, the use of computer-generated imagery is not the devil, it can in fact be an effective tool. However, there are some pretty obvious, and poor uses of it within Late Night with the Devil, particularly involving scenes featuring lightning, which feels quite out of place and inauthentic when compared to the rest of the film’s stylisation.
In short, Late Night with the Devil oozes appeal, whether that be through its enthusiastic medium that the exciting story is told, or through its riveting storyline that unfolds, convulses, twists and turns until it reaches an almighty, and showstopping revelation – whichever way, Late Night with the Devil is a must-see horror.
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In the world of remakes and sequels, few franchises (if any) have escaped their fair share of criticism, many of which comments involve leaving the ‘original’ entry alone and stopping with the rambling continuations. One series in particular whose successors have fallen flat is The Omen. With a talented cast including Ralph Ineson, Bill Nighy and Nell Tiger Free, along with a generous budget and an adequate storyline, it seemed that The First Omen had everything in its favour. However, does the sixth instalment in the franchise live up to its grave potential…
The First Omen introduces us to Margaret (Tiger Free), a young novitiate who begins her probation before becoming a church sister. She travels to Rome to begin her service at an orphanage. During her quest, a series of events unfold, leaving her in the middle of a conspiracy between the church and the Antichrist. With the film encompassing Margaret’s discoveries and the subsequent chaotic journey of truth-seeking regarding a colossal conspiracy, the entire narrative situates itself around her both psychically and emotionally.
This prolonged exposure to a character requires a fully dimensional persona to be written, which writers Tim Smith, Keith Thomas, and director Arkasha Stevenson brilliantly do. Margaret’s complexity is where the figurativeness of the film shines. It captures a level of humanness which makes character study-based films excel. Take, for example, Saint Maud (2019) and Pearl (2022), both of which utilise emotional resonance to conjure a complex study of how a tainted psyche escalates situations. The First Omen joins the likes of nuanced horror films, capturing the intricacies that develop when one is in duress. Margaret is not written as a prop for which jumpscares thrive; she is a ‘real’ person whom we can imagine a backstory of, sympathise with her journey and feel the full force of terror when it comes her way.
With this being said, it is worth tipping the hat to Tiger Free’s formidable performance, with her execution of a troubled, fearful, yet powerful young woman being a cinematic delight. Further to the film’s benefit is the scoring orchestrated by Mark Koven, whose previous soundtrack credits include The Witch (2015) and The Lighthouse(2019). The score is grim and foreboding, with harsh crescendos which jolt the senses without replicating a clashing metallic sound. This delicate balance of sinister atmospheric strings, along with the softer moments of choir vocals showcasing a blend of baritone lows and alto highs, is what makes The First Omen’s haunting aura swell.
In all of the film’s prominence, one thing must be said: the narrative is rather predictable. Foreseeing every story beat, big or small, can have quite a negative effect due to its revelation of transparent twists, which, more often than not, will be guessed by many viewers by the time the first chapter has ceased. This does not necessarily take away from the film’s magnitude and evident prowess, but it does mean that allure and a sense of heightened suspense are stripped back. Due to its prequel nature, meaning that we already know of the following events, and considering the film’s association with countless films it was an easy pitfall for The First Omen to tumble into.
Concluding on a positive note, Stevenson’s directorial capabilities must not be overlooked by any means. With all of its merit, it is easy to forget that this film was a feature debut from the director, with her background being in television, namely season three of the anthology series Channel Zero (2018). Stevenson’s vision stands tall against the rest, executing some pretty graphic scenes (warning for those with sensitive eyes come ‘the birthing scene’!). It is this precise flare of intensity that horror fans will truly appreciate, particularly considering how many mainstream scares tend to censor gory potentials due to a barrage of rules and regulations. The First Omen breathes fresh air into the lungs of 2024’s horror, notably because of some of the releases this side of the year has seen. Is this prequel as good as Richard Donner’s The Omen (1976)? Not a chance. But is it a great standalone film incorporating a plethora of fantastic filmmaking elements? Indeed it is!
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Believe it or not, it was a whole twenty moons ago that one of the best horror comedies graced the screen—(yes, 2004 really was that long ago). Edgar Wright’s Shaun of the Dead is a bonafide classic whose edgy humour, offensive charm, and bloodied zombie mayhem have cemented its zealous reputation all these years later.
Wright’s prized status began in the early 2000s thanks to his directorial efforts in Spaced, a British comedy series starring Simon Pegg, Nick Frost and Jessica Hynes, all of whom feature in Shaun of the Dead. It was from Spaced where Wright and Pegg conceived the idea of their soon-to-be horror hit. It is based on an episode titled ‘Art’, which features Pegg’s character hallucinating a zombie invasion after a prolonged session playing Resident Evil 2. With the pair both being major appreciators of the genre, the duo took their idea of hilarious zombie antics to Film4 before the studio eventually overly condensed the budget and, therefore, broke down certain crucial plot points. With a dream in mind, Wright refused to quit his zombie feature and pursued various studios over a two-year period before Working Title Films finally invested.
The project soon gained traction, casting major names in comedy from television series such as Black Books and The Office. Actors included Peter Serafinowicz, Dylan Moran, Tamsin Greig, Martin Freeman and Lucy Davis, alongside major names in feature films such as Penelope Wilton and Bill Nighy. The star-studded lineup also included a mass of extras playing the ghouls, nearly all of whom were part of fan communities for Spaced that were contacted on their online threads to be a part of a production from the makers of their favourite TV show. With a solid cast and crew, the nine-week filming process began before wrapping up and premiering at a whopping 367 cinemas and staying in the box office top ten for a total of five whole weeks.
It’s safe to say that audiences went wild for this raucous zombie flick, with its reputation only growing stronger yearly. As it nears its twentieth anniversary, Shaun of the Dead is still making waves, dominating the discourse of satirical horror and creating conversations in the landscape of cinema. In the world of scholarly research and film readings, Shaun of the Dead has dipped its toes into many analytical waters. A popular take is how the film joins the barrage of apocalypse-themed releases from the mid-2000s in response to world events that were becoming frequent in the home with the increasing access to media and news.
Others suggest that the film is a poetic example of transnational cinema which is commonly found within the UK. The leading players of zombie cinema primarily originated from across the pond, with the likes of George A. Romero’s Night of the Living Dead (1968) dictating the direction that zombie media followed for years. On the flip side, in Britain, there has been a constant ode to men in comedy who can’t help but make a fool of themselves as they go about gallivanting and making a ruddy nuance of situations – think the likes of Monty Python, Dad’s Army, Only Fools and Horses etc. The combination of Americanised scares and dramatic monstrous ghouls with two-bit but still chucklesome characters makes Shaun of the Dead attract an admiration that many budding filmmakers admire to achieve one day.
Stepping away from the formalities, Shaun of the Dead thrives in its thematics and ideologies. Shaun of the Dead has a monotonous, gritty quality that takes a slice-of-life approach to an apocalyptic situation, reminiscent of the ‘Keep Calm and Carry on’ motto burned through the British mindset. It was through this niche characteristic that the film’s lampoon-like comedy was able to shine through. As a case in point, whilst writing the script, Wright took inspiration from his own sardonic attitude at times; after having his own late-night gaming session being immersed in the world of horror video games, he took to going for an early morning walk where it could be imagined that half of the public was either coming home dazed from a late night out, or exhaustively treading along, gearing up for the morning shift at work. It’s a scene of mundanity at its finest. With Wright’s brilliant, dry humour at hand, he couldn’t help but think how on Earth Britain would, with all of its chaos and caustic disposition, react if their early morning shenanigans were interrupted by a plague of flesh-hungry undead creatures.
Discussing Shaun of the Dead without mentioning a certain dessert-named cinematic series would be criminal. This zom-com is the first entry into the acclaimed and fantastically named ‘The Three Flavours Cornetto Trilogy’, followed by the ‘great er good’ Hot Fuzz (2007) and the sci-fi-esque The World’s End (2013). Ironically, the coining of the Cornetto only came to fruition long after Shaun of the Dead’s release; It was during the promotional stages of Hot Fuzz, where Cornetto’s were given as an aperitif, that led to Pegg and Wright wanting to include the beloved ice cream treat into further films. It may seem akin to a superficial, silly joke, yet the rambunctious nature of developing inside jokes led to the trilogy, particularly Shaun of the Dead, retrospectively developing an intriguing interpretation. The films are all comprised of out of their depth individuals tackling a massive issue at hand and growing as people, but not necessarily (and comedically deliberate) maturing in their adolescent-like ways.
The development of Shaun of the Dead includes a comic strip titled ‘There’s Something About Mary’ for 2000 AD, the applauded comic magazine. Following this was IDW Publishing’s several-issue adaptation of the horror, with drawings from Zack Howard and writings by Chris Ryall. That’s not to mention the various special edition physical media releases and collectable action figures. Alongside this was Clark Collis’ book ‘You’ve Got Red on You: How Shaun of the Dead Was Brought to Life’ (2021), which details interviews with cast and crew, storyboards and behind-the-scenes insights.
Even just a few years back, the humble humour of Shaun of the Dead shone once again during the lockdown periods in the UK, with Shaun’s iconic ‘plan’ becoming somewhat of a motto for folks at home. For reminder’s sake, Shaun comes up with a simple action plan to tackle the ole zombie issue: “Take car. Go to Mum’s. Kill Phil-“Sorry”-grab Liz, go to the Winchester, have a nice cold pint, and wait for all of this to blow over”. The short, snappy and quintessentially British dialogue resurfaced via Pegg and Frost themselves as they put a modern spin on the plan by putting emphasis on staying home (avoiding the Winchester this time).
Shaun of the Dead’s legacy speaks for itself, with nearly every ‘best of horror’ list devoting a spot to this must-see film. This immeasurably hilarious take on a monster movie still garners a laugh-a-minute reaction from viewers, no matter how many times they’ve pressed play on this unmissable, culturally significant, and pivotal piece of cinema.
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Spring’s new psychological horror feature ‘Immaculate’ sees Sydney Sweeney star as Sister Cecelia, a devout nun who finds herself trapped in a secluded convent in the Italian countryside. Fighting for her life, Sister Cecelia finds herself subjected to experiments orchestrated by the church in an attempt to bring about the second coming.
‘Immaculate’ explores themes of isolation, misplaced faith, and the duplicitous nature of the seemingly beautiful. Sweeney provides an electric performance that encapsulates the tipping point between sheer terror and blind rage, carrying the audience with her through a dark and at times gruesome journey of Sister Cecelia’s self discovery and relationship with her faith.
Sister Cecelia, a young, fresh faced religious girl, embarks on a new chapter of her life as she travels to Italy to work as a carer providing end of life care for old, sick nuns. She found her faith after a near death experience in her childhood; she now follows God as she believes that he saved her that day to serve a purpose, but she is yet to discover what that purpose may be. Upon arrival in Italy, Sister Cecelia detects an unsettling atmosphere which shrouds the convent.
After blacking out on her first night she soon discovers that she has become pregnant through a seemingly Immaculate conception. Sister Cecelia was guided to the convent by her faith in God and was consequently expected to put her trust into his representatives on earth. However, after it is discovered that she is the subject of a cruel and inhumane experiment, it is clear that Sister Cecelia’s faith was misplaced, not with God, but with those who follow him and twist their beliefs to justify their own heinous agendas.
(Variety 2024)
We learn early on that Father Tedeschi – the Priest who summoned Cecelia to the convent in the first place – devoted two decades of his life to the field of biology before he found his own place amongst the church. It isn’t until later that we discover Father Tedeschi was shunned from the profession due to conducting unethical experiments.
Once we learn the truth behind Sister Cecelia’s pregnancy it is clear that the purpose which Father Tedeschi and the rest of the convent serve is not in fact God’s but their own. They attempt, in the name of God, to engineer a biologically perfect replication of Christ and believe that he will be their saviour and wash away their sins. The convent firmly believes what they’re doing is for the greater good because, as stated by the Cardinal, “If this is not the will of God, why does he not stop us?”.
Yet, the fact that Father Tedeschi uses eugenics to force the creation of a Messiah opposes the Christian belief that Christ will rise again at the right time. We can also then see how the title, ‘Immaculate’ serves two meanings: firstly, it denotes the idea of an immaculate conception and secondly, it represents the attempt to design a genetically perfect foetus carried by the perfect vessel – Sister Cecelia – destined to become a faultless religious figure.
(Screenrant, 2024)
The setting of ‘Immaculate’ is another important element of the film as it embodies one of the main motifs – darkness masked by beauty. We are provided with a plethora of shots both inside and outside of the convent, depicting both the architectural and natural beauty of the Italian scenery. These shots however are lengthy and linger in certain rooms and corridors. This gives us the foreboding impression that there is something lurking in the convent, a malevolent force or motive hiding amongst the picturesque dressing of this religious building.
Similarly, when Sister Cecelia first arrives at the convent she is sweet, innocent and devout. However, once under threat she is capable of embracing the darkness emanated by the convent and doing whatever it takes in order to survive. Finally, a bible quote hidden on the wall of Sister Cecelia’s bedroom – “And no wonder, for Satan himself masquerades as an angel of light” – foreshadows the duplicitous nature of Sister Cecelia’s baby suggesting that it has the potential to be a force of evil, disguised as a miracle.
(Discussing Film, 2024)
‘Immaculate’ provides a thrilling cinematic experience bringing audiences along for a ride full of gut wrenching twists and abhorrent revelations. The film emphasises the idea that a person’s faith is uniquely their own; a relationship with God should be an individual experience, not dictated by anyone or by an alternative motive. Sydney Sweeney perfectly captures Sister Cecelia’s journey in discovering that God’s purpose for her is to choose her own path. ‘Immaculate’ is a must-see new horror flick and a perfect combination of a harrowing conspiracy and the prevail of a person’s faith in themself.
Hope Lelliott-Stevens
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