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Dead Northern 2024 – Award winners!

It goes without saying the entire selection for this years fest deserve recognition for their talents as film makers and artists. So narrowing this down to just a handful of award winners has been extremely difficult for this year’s judges panel!

With that said, lets take a look at all the incredibly deserving award winners from the 2024 Dead Northern Horror Film Festival!

Best Feature Film – Kill Your Lover

Directing duo Alix Austin and Keir Siewert delivered a gnarly, grotesque, and emotionally raw feat of tainted love, where body horror and a cerebral narrative collide together to create the must-see ‘Kill Your Lover’.

From the initial setup right up until the credits begin to roll, the entire film is slick with an uncomfortable sense of intimacy. Intimate through its nature of chronicling a toxic relationship. Intimate through its portrayal of up close and personal graphic body horror, and intimate in how it feels as if we have been positioned to voyeuristically gaze like a fly on the wall as Dakota and Axel experience the terrifying motions of their damning monstrosity.

Kill Your Lover is a standout feature and deserving winner that speaks to the creator’s exhilarating storytelling talents. From Austin’s incredible short horror ‘Sucker’ (2022), to Siewert and Austin’s team effort on the anthological entry ‘It’s Inside’ in Isolation (2021), it is a sure thing that this duo is one to watch.

(Directors Alix & Kier celebrating along side Cinematographer Oscar Garth)

Dead Northern Award (Best northern Submission) – All This Time

Writer and director Rob Worsey delivered a standout, complex and thought-provoking second feature that, alongside his zombie-themed feature debut, Among the Living (2022), proves that Worsey is a talent to be watched.

The film dabbles in equal amounts of trepidation, theatrical drama, and gothic horror to form an unholy trinity of emotively triggered fear. For instance, as we see Grace come to terms with the disturbed histories that lie in wait, not once does the film become gimmicky in its scares; instead, bouts of unease are stirred, and waves of darkness are weaponised, collectively espousing a film that is as tonally rich as it is visually impactful.

Worsey’s uncanny ability to stir tension and assemble well-crafted scares that linger like a troubling night-terror are at an all-time high throughout All This Time – A worthy winner of the Best Northern submission to the 2024 fest.

(Writer & Director Rob Worsey, Producer Kate Worsey with cast members Emily Rose Holt and Lyndsey Craine)

Best International Feature Film – The Stickman’s Hollow

The Stickman’s Hollow resembles a multifaceted labyrinth, feeding its complex story bit by bit, acting like a serpentine. It is the slow feed of a terrifying story, the intricate weaving of eerie details and the intimate mode of filmmaking that make this found footage horror unmissable and the jury’s top international submission for 2024.

Composing the heart of the film is all of the plentiful mystery, mythology and lore, which is made all the more effective due to its detailed backstory. The Stickman’s Hollow is based on a chilling true story from Director Jack Cox’s childhood of girl who became lost in the local Vancouver woods. And the story goes… the lost child was presumed to be dead, but after a year had passed there were reported sightings of a feral child roaming the forest and eating the remains of animal carcasses. Found near the spotted sightings were strange carvings of male figures, which all point to sinister misdeeds.

Whilst The Stickman’s Hollow is a fictional story, Cox based the tale on the countless, spine-chilling questions that arise when one thinks of a story of such calibre. What happened to the missing girl? How did the carvings come about? And why do missing persons cases in the backwoods go unsolved? Fictional or not, this is nightmare fuel!

Amplifying the intensity is the fact that the filming location is that of where the backstory occurred, conjuring a level of dread that is often difficult to capture on screen. Adding to the unease felt is the film’s found footage fashion that immediately immerses and stirs a level of uncomfortable immediacy. The suspense brought forth, the anxiety formulated and the foreboding alarm mould together throughout this noteworthy expedition into The Stickman’s Hollow.

Unfortunately the team couldn’t make the fest but look out for our interview with cast an crew coming soon to our socials and YouTube channel!

Best Short Film – Skulk

Claire (Elina Gavare) wakes in the night to the sound of screaming foxes. She remains annoyed yet unfazed at the common disturbance, that is, until she sees a strange figure outside her window. It’s not unusual to hear the screeching cries of foxes in the dead of night, with their innate raspy, almost-painful sounding screams being the nocturnal anthem of the British public.

However, does it ever cross one’s mind that what they think are foxes calling out could be human screams or something even worse? This is precisely what director Max Ward so effectively conveys in Skulk. In the wee small hours of the night, the mind plays tricks on us, and with imaginations running wild, our worst nightmare seems only around the corner, or in the case of Skulk, maybe it’s already inside…

This masterfully delivered short won over the jury with it’s fantastic performances, downright creepy cinematography and perfect delivery of horror.

Fresh Meat Award – The Bloke in the Boot

Northern city boy Mogg (Jude Pollitt) accidentally kills his driving examiner (Stewart James Barham) after a failed test, leaving him to call his lifelong friend Gaps (Oliver Barry-Brook). With a body stuffed in the boot, the pair embark on a road trip to Wales to dispose of the mess. Part situational horror, part traditional British comedy as we join Mogg and Gaps on what can be defined as one of the most stressful types of road trips.

This thoroughly entertaining short acts as an exaggerated imitation of Northern British bonds and colloquialisms, which are built upon by the film’s self-deprecating humour, which is sure to provide belly laughs amidst the dramatic thriller roots additionally explored. Another specificity not to miss is The Bloke in the Boot’s genuinely admirable visual work that displays the grand cinematic views that the UK has to offer.

With the brazen duo’s antics, the unapologetically hilarious British cynicism, and the impressive displays of the countryside’s landscape, The Bloke in the Boot stood out to the jury this year as an immensely talented group of filmmakers to keep your eye on.

(Cast member Jude Polllitt-Berthereau & Director Taylor Caddick celebrating their win on the Sunday of the fest)

Best Cinematography – The Rising of the Sap

Produced by the BFI is Susie Jones’ The Rising of the Sap, a folk horror short following Bea’s (Darci Shaw) unwitting journey into ‘The Rising’ and her mother Elizabeth’s (Joanna Scanlan) fight to stop it. Where this film flourishes is the performances, which work to elevate Jones’ outstanding story following the darkness found lurking within the human condition.

As the film unravels, the folkloric elements intertwine with the character study of Bea’s fascinations and Elizabeth’s troubles to create a horror saturated with paranoia, isolation, manipulation and deception. Adding to the thought-provoking narrative is the film’s masterly composition of evocative imagery that is both gritty and visceral yet charmingly suave and ultimately became the panel’s favourite for Best Cinematography of 2024.

Congratulations to the team and particularly Paul Mortlock – cinematographer on the production.

Best Performance – Becca Hirani – The Monster Beneath us

Bursting with tales of losing control and challenging reality, all entwined with a hint of familial trauma and ladened with a haunting gothic aesthetic that bodes stunning imagery and a grippingly tense atmosphere is Sophie Osbourne’s The Monster Beneath Us.

The Monster Beneath Us’ cunning ability to rouse great terror inch by inch is a testament to the film’s sundry charms, from the evocative performances and the thoughtful milieu of designs that echo the time period all the way through to the atmospheric soundscape that conspires with the harrowingly toned cinematography

Becca Hirani’s performance as Lady Grace Abbington captured the Jury’s attention for her fantastic portrayal of a mother consumed with grief and loss.

(Becca posing with her award on the Sunday of the fest)

Best Supporting Performance – Ellen Jane Thomas – Scopophobia

Scopophobia’s female driven cast with fleshed out, complex characters, gnarly (and unbelievably gory) practical effects, powerful scoring, immensely captivating visuals and directorial dynamics all amalgamate together to create one hell of a horrifying and wicked elixir pot that is a testament to the brilliance of independent horror filmmaking.

It’s within this elixir pot we see an outstanding performance from Ellen Jane Thomas as Mia!

(Ellen celebrating the win at the Dead Northern Awards party)

Best Special Effects – Black Hole Barry

Prior to Scott’s (Michael Batten) boyfriend Robin (Joseph Potter) moving in, he ventures out for one last wild night of freedom. Unbeknownst to him, his secret philandering will soon result in an almighty reckoning. The exceptional results of this demonic horror are a testament to independent filmmaking, with its extremely unique and unorthodox exaggeration of adulterous characters being a hilariously dark and twisted spin on genre cinema.

It was the uniquely designed demon that grabbed the attention of the Jury for this years special effects award!

(The Black Hole Barry team grabbing a photo before their screening at the fest)

Bloody Good Death Award – Little Brown Bird

On the shortest day of the year, the overworked farmer Kate (Eliza Butterworth) must care for her ailing father (John Rhys-Davies), who has dementia and is convinced that something is hunting them. Little Brown Bird is an emotionally charged film that tackles the living loss of a loved one through dementia, with the relationship between Kate and her father being a focal point for the affective narrative to flourish.

In tandem with the riveting, poignant story is the film’s moving scoring, which has a softness akin to a lullaby that works to further the dimensional relationship between the father-daughter bond amidst an air of uncertainty and mystery.

Without spoiling this fantastic film there is a whole bunch of gnarly kills that stood out to the jury and left us thoroughly entertained!

(Director Peter Rogers with his newly won trophy)

That’s a wrap on Dead Northern 2024, see you again next year!

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Beetlejuice Beetlejuice (2024) – Review

(The Reveal, 2024)

Beetlejuice first graced our screens in 1988 establishing a whacky and absurd world which introduced many of us to director Tim Burton’s unique visuals and infamous filmmaking style. Now, 36 years later, a sequel to this timeless, cult classic promises to recapture the magic of the original and reimagine it in the modern world. Beetlejuice Beetlejuice centres on a now grown up Lydia Deetz (Winona Ryder) as she navigates both her supernatural abilities and her role as a mother.

We meet Lydia’s daughter Astrid Deetz (Jenna Ortega) and learn of their strained relationship whilst appearances from Beetlejuice alumni Delia Deetz (Catherine O’Hara) and the demon himself – Beetlejuice (Michael Keaton) are also welcomed. Much like the original, Beetlejuice Beetlejuice blends the humorous with the horrific and takes us on a journey filled with nostalgia and theatrics aiming to raise the stakes in an action packed sequel.

As Beetlejuice Beetlejuice opens we are reintroduced to Lydia Deetz. Once a moody, misunderstood teenager Lydia now uses her talents to contact supernatural beings who inhabit or haunt the homes of unsuspecting home-goers. A death in the family (Lydia’s father Charles) brings Lydia back to her estranged daughter Astrid. With the two reunited we learn that their complicated relationship stems from the death of Astrid’s father, and Lydia’s refusal to talk about it. This caused a rift which was further splintered when Lydia pursued ‘Ghost House’, a television show which publicises her abilities; Astrid does not believe in ghosts and thinks the show capitalises on people’s vulnerability.

One obvious observation of this relationship is that it is reminiscent of the relationship Lydia had with her parents – specifically her stepmother Delia – in Beetlejuice. Both of these family dynamics are caused by the separation from a loved one and it is Lydia’s endeavour to save Astrid from the Netherworld that makes her realise that she has ‘spent too much time talking to the dead [and] it’s time [she] started living’. Beetlejuice Beetlejuice explores the relationship between life and death using Astrid and Lydia to portray the importance of processing grief and the consequences it can have on families if left to fester.

(Blavity, 2024)

Since its groundbreaking release in the 80’s, Beetlejuice has been a constant source of inspiration for all mediums of art. Notably a musical adaptation of the horror comedy in 2019 took the Broadway stage by storm, retelling Burton’s bizarre story through the use of upbeat songs and flashy dance numbers.

Beetlejuice Beetlejuice has taken a cue from the world of theatre and uses music and dance to elevate the storytelling in this sequel. It is always risky introducing musical theatre into an existing franchise – but Beetlejuice is no stranger to a song and dance. Arguably the most famous scene from the original movie is the dinner party dance scene where Charles and Delia Deetz and their guests are possessed and forced to perform to Harry Belafonte’s Day-O (Banana Boat Song). Considering the popularity of this particular sequence as well as the love for the musical adaptation, it was no surprise that Beetlejuice Beetlejuice leaned into its musical potential.

Perhaps the most captivating musical number from this movie occurs when Beetlejuice crashes Lydia’s wedding, and demands she marry him after he aided her in rescuing Astrid from the Netherworld. Set to Richard Harris’ ‘MacArthur Park’ the church becomes a stage on which a strange yet mesmerising song and dance sequence ensues. Both the characters on the screen and the viewers in the audience are possessed by Beetlejuice and encouraged to surrender themselves to Burton’s whimsical and nonsensical cinematic world.

The music also gives the Netherworld a 70s makeover making use of The Bee Gees’ ‘Tragedy’ when we are first introduced to Beetlejuice’s ex-wife and immortal enemy Delores (Monica Belluci), and showcases the ‘Soul Train’ which takes the deceased – dressed in 70s attire and disco dancing – to the great beyond. This decision maximises nostalgia as fans of the original likely grew up during this decade.

(Deadline, 2024)

Beetlejuice Beetlejuice lives up to the reputation of the original by perfectly blending heartfelt, family sentiment with ludicrous and at times unhinged comedy. It gives us an opportunity to revisit characters we loved from Beetlejuice and presents us with new characters who allow us to venture deeper into the ever-expanding cinematic universe that Tim Burton has created. Furthermore the sequel manages to uphold the visual and atmospheric aesthetic first established in Beetlejuice but presents it in a modern society; one we are all familiar with. Overall Beetlejuice Beetlejuice embraces the strange and unusual by combining nostalgia with the contemporary role of the outcast, and using music to encourage people to unleash their authentic selves.

Hope Lelliott-Stevens

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Curiosity Corner Dead Northern Festival News and Reviews Events

Mad About Horror at Dead Northern 2024!

We’re thrilled to announce that Mad About Horror will be an official sponsor of our Film Festival event in York  27th – 29th Sep 2024!

Mad About Horror are the leading online retailer in the UK and Europe for specialist horror masks and collectibles. As the largest official European retailer of Trick or Treat Studios, they bring the latest US releases to the UK and Europe, offering a wide array of masks, collector’s items, and replica props.

In addition to their partnership with Trick or Treat Studios, Mad About Horror showcases a vast selection of leading collectible brands including NECA, Mezco and Sideshow as well as niche brands such as Black Heart Models, Pallbearer Press, Infinite Statues. 

They also have a huge range of Halloween animatronics, masks and decorations. Renowned for sourcing the latest Halloween props and animatronics from the US, Mad About Horror pride themselves on retailing items that are rarely available this side of the pond.

With an extensive product range specialising in all thing’s Horror and Halloween, Mad About Horror serves as the ultimate one-stop shop for horror fans. Their passion for the genre is evident in their commitment to staying up to date with latest releases and engaging with the horror community. 

Looking to bring the thrill of the big screen home? Explore their Horror-movie section, featuring a wide array of collectibles, officially licensed masks, and an exclusive selection of Waxwork Records for soundtrack enthusiasts. Whether you’re expanding your horror collection or hunting for the perfect gift, Mad About Horror has everything you need to recreate the cinematic horror experience.

Shop with them now by clicking here

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Reviews

Review – Abigail (2024)

New horror instalment from directing duo Matt Bettinelli-Olpin and Tyler Gillet sees a group of unscrupulous criminals brought together to carry out the carefully plotted kidnapping of a billionaire’s daughter and subsequent blackmail for ransom. The power play quickly changes however once the group discover that they are in fact victims of a game orchestrated by an unlikely puppet master.

Bettinelli-Olpin and Gillet are well known for their original horror concepts which combine vivid scenes of violence with a comedic overtone; to this, Abigail is no exception. The movie follows the group as they are plunged into a fast-paced game of cat and mouse and amongst the carnage, comedy and ballet, portrays a modern twist on the traditional vampire sub-genre.

(Screenrant, 2024)

One stand out element from Abigail was the homage paid throughout to Tchaicovsky’s ballet Swan Lake. Abigail (Alisha Weir) herself, whilst dressed in a feathered tutu, provides us with several dance sequences which are accompanied by the unmistakable Swan Lake theme; this is reminiscent of the white swan. However, despite the physical likeness to the beautiful and innocent white swan,

Abigail’s character is more implicative of the dark and manipulative black swan. When we first meet Abigail she presents a small and frightened demeanour – as expected since we believe that she has just been abducted from her family home. As we uncover more about Abigail’s character we see her transform into an evil and vengeful creature who only played the innocent in order to trap her believed kidnappers and lure them into her game. The choice here to mirror Tchaicovsky’s ballet allowed Bettinelli-Olpin and Gillet to create a balance between the classy and elegant – two themes often associated with vampirism – and the graphic blood and gore.

(Variety, 2024)

Returning to the aforementioned modern twist on the vampire genre, Bettinelli-Olpin and Gillet were not only able to incorporate traditional associations with the mythology, but elevate them in order to entice a modern day audience and provide Abigail with its own, original vampire lore. One scene that we always expect -but is nevertheless enjoyable – is the sequence in which our characters try to decipher how to kill a vampire. We are treated to all of the classics including: stake through the heart, sunlight and a humorous mix up between garlic and onions. Here we are provided with all of the traditional mythology which without, you couldn’t possibly imagine making a vampire flick!

What struck me as the most innovative choice was the way in which the vampire legend was established within the narrative. Once the group realise that they have been trapped and are being picked off one by one, they recall a rumour that they had heard concerning one of Abigail’s billionaire father’s bodyguards, who literally tears apart his enemies like an animal. This was a clever way to maintain the vampire figure as an urban legend but update the way it is presented to our characters in order to uphold the mystery of their attacker, and raise the stakes once they uncover the truth.

(Bloody Disgusting, 2024)

Another important theme addressed in Abigail is the internal conflict of the human versus the monster. Right from the word go we understand that our group of kidnappers are monstrous enough to abduct an unsuspecting child for their own profit; it isn’t until later however, that we learn why each of them sign on to the job and can separate the selfish from the desperate.

Joey (Melissa Barerra) and Frank (Dan Stevens) are two of our criminals who are pitted against one another in order to convey this contrast. Joey is elected to watch over Abigail whilst she is locked up in the mansion they are holed up in, this allows us to see a more compassionate side to her; we also learn she has a son, her reason for participating in the crime in the first place.

Frank on the other hand is aggressive and abrasive in his attempt to lead the group suggesting that his true desire is power. We see Frank wrestle with his humanity and his loyalty to the group but he eventually succumbs to his own sense of self preservation resulting in a permanent embrace of the monster, both inside and out. In a final showdown we see Joey fighting – alongside an unlikely ally – to keep her promise to her son, and return home to her family. It is through Frank we learn it’s not just the curse of vampirism which makes someone a monster and through Joey that one can commit a monstrous act with the most human of intentions.

(CBR, 2024)

Bettinelli-Olpin and Gillet have once again created a wacky and unique horror picture that audiences won’t soon forget as Abigail has taken theatres by storm and proven to be a thrilling cinema experience. This vampire-comedy uses the art of ballet to display some unforgettable scenes of violence whilst reminding us that a delicate, twelve year old dancer is the undoing of six hardened criminals. The success of Abigail will hopefully pave the way for more exciting genre experiments and unexpected hybrid horror films in the future!

Hope Lelliott-Stevens

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Dead Northern Festival News and Reviews Events

Dead Northern 2024 – Early bird tickets available now!

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.

Grab your tickets here…

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Reviews

Review – Immaculate (2024)

(Deadline, 2024)

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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Review – The Royal Hotel (2023)

(RTE, 2023)

After running down their funds from their wild and party oriented travels through Australia, backpackers Hannah (Julia Garner) and Liv (Jessica Henwick) accept a desolate bar job located in a mining town in the Outback. Once they arrive however, an uneasy atmosphere settles in and follows the girls as they try to navigate an unknown, strange environment devoid of any means of escape. The Royal Hotel provides an excruciating commentary on the pros and cons of travelling around the world; specifically the dangers of travelling as a woman. Director Kitty Green severs her characters’ contact with the world they know and thrusts them into a society with different rules, rules they would have to adhere to in order to survive.

The driving force of the film is the relationship between Hannah and Liv. The two portray a friendship in which one friend is reckless and impulsive and the other is sensible and paranoid. It is Liv who encourages Hannah to accept the bar job despite its isolated location, convincing her that it’s a necessary task given their financial situation. However, after one night of working the bar Hannah begins to feel on edge and senses that she and Liv might not be safe. Liv on the other hand brushes past these signs and even encourages Hannah to be more spontaneous – for example, spending time with Matty (Toby Wallace) whom they had only just met and experienced unwanted attention from the night before.

The relationship between the girls highlights the somewhat universal experience in friendships where one friend feels they are being forced into uncomfortable situations and the other feels they are being held back or not allowed to have fun. Coupled with an unfamiliar environment, the cracks begin to show in Hannah and Liv’s relationship and we gain an insight into how people can feel alone even amongst friends. Despite their rocky journey however, Hannah and Liv pull together when their situation elevates. The Royal Hotel illustrates how difficult it can be to travel with a friend who has a different level of awareness than yourself. Furthermore, Hannah and Liv emphasise the importance of banding together despite differences and emphasise the power of women who stand as one.

(Discussing Film, 2023)

Reinforcing the idea of sticking together, The Royal Hotel supplies an honest and at times difficult to watch criticism of the systemic misogyny present in bar culture. When they are first offered the job, Hannah and Liv are warned that they should expect unwanted male attention, especially because they will be based in a mining town. Moreover, after a few nights Hannah is told by Billy (Hugo Weaving) – the owner of the bar – that her attitude and lack of smiling is bad for business and drives his customers away.

This demonstrates the expectation of both bar staff and customers for the female employees to be part of the service the bar is providing. For example, Dolly (Daniel Henshall) is a regular who expects Hannah’s company as well as her bartending service when he hangs around after hours and tries to buy her drinks. He insists that he is just being nice despite elevating the situation with aggression when she declines and he subsequently doesn’t get his way.

There are several narrative piques similar to this in the film where one of the male characters becomes problematic by suggesting they are going to act violently towards one of the girls. These situations are always diffused however meaning that the film never comes to a clear climax. This choice works from a social commentary perspective as it highlights that female travellers can always feel an air of vulnerability even if they are never directly threatened or put into an obviously dangerous situation. From an entertainment perspective however the narrative falls flat without building to a satisfactory crescendo and cannot end with an adequate equilibrium as the story didn’t deviate from one to begin with.

(In Review, 2023)

The choice to use the landscape of the Australian Outback as the setting for The Royal Hotel is a metaphor for the loneliness and isolation that many people feel whilst travelling. We experience this isolation predominantly through the eyes of Hannah. As aforementioned Hannah and Liv exhibit significant differences and desires meaning that whilst Hannah for example feels threatened by the persistent and overly familiar male clientele, Liv sees them as harmless and cannot empathise with Hannah’s plight.

Throughout the film the walls begin to close in on the girls when they realise – as personified by the location of the Outback – they have nowhere to run to. Subsequently when Hannah stops a susceptible Liv from leaving the bar with Dolly they have nowhere but the bar to barricade themselves into. The Royal Hotel utilises the small building stood alone amongst a vast desert to convey the feeling of being trapped; a feeling familiar to many travellers who experience loneliness or homesickness when spending too much time isolated in unfamiliar environments.

(Indie Wire, 2023)

The Royal Hotel at times provides an excellent observation on the experience of travelling and working as a woman using Liv and Hannah to paint a picture of how even the closest of friends can feel alone in each others’ company, especially when you are away from home. The film also dives into the problematic system of many service industries who rely on the sexualisation and submission of women in order to entice customers and maximise sales. Having said this however, it feels that many desirable elements for a good film narrative are sacrificed in order for the social commentary to be made. Other than our central protagonists many of the secondary characters feel one dimensional and have no other purpose than to act as devices for the plot.

The Royal Hotel drives home the dangers of exploitation that many female travellers are confronted with and encourages awareness of foreign surroundings in order to avoid being taken advantage of as everyone deserves to feel safe when exploring new places.

Hope Lelliott Stevens

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Saw X (2023) – Review

Breathing new life into the franchise, Saw X provides a never before seen piece of John Kramer’s history and gives audiences an insight into the man who created the Jigsaw legacy. In this new instalment we see John Kramer (Tobin Bell) participate in an innovative new cancer treatment that promises a full recovery from the brain tumour which currently plagues him. All is not what it seems however when the true nature of this treatment is revealed and Kramer takes matters into his own hands, not to exact revenge, but to rehabilitate those who have wronged him. Saw X not only reinforces the morally ambiguous atmosphere that runs through the veins of the franchise, but provides an empathetic origin story for Kramer and creates an argument to justify the necessity for Jigsaw’s tests.

A primary theme in Saw X is that of seeing and perceiving. Jigsaw has always found ways to observe his games and sometimes even insert himself into them. This allowed him to watch his subjects without making himself seen or known. For the first time however, Saw X presents us with a situation in which Kramer not only reveals himself to his subjects as their captor, but moves amongst the games so he can be seen up close by his subjects just as well as he can see them. We know that Jigsaw’s games always reflect the immoral actions of his subjects; Kramer makes himself known and personable in the same way the people involved in his treatment did in order to lull him into their con. The only difference is instead of their lives being in his hands, they are in their own. Furthermore Kramer and returning apprentice Amanda (Shawnee Smith) watch the games from a room above through a large glass window. This also highlights the way that the con artists involved in the treatment would watch their patients on the operating table knowing full well they were going to die, and do nothing to help them. Saw X emphasises how perception is power and gives Kramer an almost omniscient ability, allowing him to provide his subjects with their own personal judgement day.

(Bloody Disgusting 2023)

Speaking of power, another first for the Saw Franchise is the power struggle engaged by Kramer and one of his subjects Cecelia (Synnøve Macody Lund). Kramer appears to lose control of his game when another variable – Cecelia’s con partner Parker (Steven Brand) – shows up to rescue her. As a result Kramer and Amanda end up in their own trap and the power shifts from the puppeteers to the puppets. After besting their opposition however, Cecelia and Parker do not take the opportunity to escape. In fact, they decide the best course of action is to exact revenge on Kramer and Amanda.

Cecelia wishes to make Kramer regret what he did to them and take responsibility by forcing an innocent into the trap alongside him. This portrays to the audience that Kramer was right to put Cecelia in the trap in the first place as she does not regret how she behaved, and given the chance would continue her con. The power struggle continues as unbeknownst to Cecelia and Parker, Kramer wanted them to believe they were in control up until the last moment when he takes it back. This power struggle gives perspective to Jigsaw’s purpose as it shows, given the opportunity, the subjects would not take the moral high ground and therefore deserve to be tested.

(We Got This Covered 2023)

Not only do we see the vindictive spirit of the game’s subjects but we learn of a compassionate side to our game’s runners. A stand out player in Saw X is Amanda who is aforementioned, Kramer’s apprentice. Those who are familiar with the franchise will know that when Amanda eventually takes over from Kramer her games are unwinnable and her motives vengeful. This movie gives us an insight into what shapes Amanda’s motives and why she becomes this way. One of the players in the game, Gabriela (Renata Vaca) is a young drug addict, similar to the person Amanda was before she was subjected to her own test.

Amanda empathises with this girl and tries to help her by delaying her test. Seeing herself in Gabriela, Amanda begins to question if she herself deserved to be tested and whether aligning with Kramer was the correct decision. However, after Cecelia proves that even in the face of almost certain death she would not change her ways, Amanda begins to realise that these people don’t need to be rehabilitated but in fact punished. Saw X drives home Kramer’s strict rules for his games as it shows how other people would abuse his power should they have it for themselves.

(The Mary Sue 2023)

Saw X contributes yet another tale of morality into the franchise emphasising Kramer’s importance as Jigsaw by showing us how the games might be run if the shoe were on the other foot. The purpose of this instalment is to convince us – if we weren’t already – that Kramer is not a villain but an anti-hero. It has always been a question in the Saw universe whether or not it is morally wrong to test the immoral. Saw X gives reason and meaning to who Kramer becomes in the later films; the movie does not try to justify Jigsaw’s behaviour by saying it is wrong, but says it’s right and shows us why.

Hope Lelliott-Stevens

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Curiosity Corner Dead Northern Festival News and Reviews Events Reviews

The Ultimate Guide to Dead Northern Horror Film Festival 2023

Here’s your guide to every screening, event and dark delight at this years Dead Northern Horror and Fantasy Film Festival 2023!

Friday – 29th September

As you join the queue in to the city screen with your fellow horror lovers, check in at our front desk with Josh, Gareth and Dave and grab your festival pass.

Head through to the main lobby and pick up any provisions you need with Cath and the team at City Screen Picture house, and head up to Screen one for your first day of spooky screenings…

11:00am – Student Short Films

‘Swine’ – one of the brilliant short films you can see in this showcase
  • A King in Yellow -A brother attempts to bring his sister’s sense of hearing back by performing an occult ritual involving vinyl records.
  • …And Again, And Again – Opening right amidst the action, a knife wielding maniac pursues his terrified victim home. Bloodshed ensues, but things are far from what they appear to be…
  • Serpentine Petrol Product reel No.7 ”Skin Cream” – A snake oil salesman with the latest in beauty products: A skin cream that melts away your skin.
  • Swine – Witness the death of society as two powerful men, driven entirely by their greed, gorge themselves on pork and wine before revealing their true nature.
  • Ariane’s Baby – Ariane is a single and lonely woman who craves love after a history of abusive relationships. The birth of her child represents a chance to start everything anew and form her own happy family, but she worries about not being up to the task.
  • Morto Rossa – A dance school organizes a mysterious casting to select a dancer for a future show. Suzie, after passing the audition, will be chosen as the lucky one.
  • The Machine – Alexis is a college student in her early 20s. One night while gathering with her friends she takes interest in the pinball machine in the arcade room…
  • Lucid – Lucid follows a protagonist, Wes, who becomes obsessed with the concept of lucid dreaming and spirals into a chase for power in his sleep.
  • Yokai In My House – Miyako a girl in her 20’s inherits a house in Japan. Unbeknown to her it is haunted by the Mokumokuren. Will she survive the night or will she succumb to the same fate as her predecessor?

12:30pm – ISAAC (Feature film) -Sci-fi Horror – Northern Premier with Q&A

In the near future a company specialising in cellular meat trial its synthetic technology in a bid to create the perfect child. Nicholas and Sarah are guinea pigs to this trial and are provided with a seemingly healthy son, after losing their own child to a genetic disease. As their new son, Isaac, develops he becomes increasingly violent and dangerous, leaving the parents with no choice but to lock him away and keep him hidden while they try to uncover the truth as to what is driving him insane.

2:30pm – The Good Times (Mini Feature) – Post Apocalyptic Horror

Fantastic short feature film, made by brilliant local talent and filmed in and around York!

A young man lives alone in a dystopian future, trying to survive a post-apocalyptic world and his own conscience.

3:15pm – Free Spirits (Mini feature) – Horror Comedy

Image preview

One bashful vicar… One haunted nudist camp… Prepare to get the willies. In this paranormal comedy from the makers of 2018 festival-hit Paul Is Dead, BAFTA-nominee Spencer Jones leads a star cast (alongside veteran actors from ‘Hot Fuzz’, ‘Game Of Thrones’ & ‘Spaced’) as Rev Howard Lee Jr, a bashful local vicar who is called upon to save a haunted nudist camp from the prudish poltergeist covering their privates.

4:00pm – Folk Horror and Mystery Short Films

Kicking off our Folk Horror themed afternoon is a mixture of eerie short films…

‘Find You Here’ Folkloric Horror set at an abandoned scare attraction
  • Kiddo – On a rickety bus trundling through wilting countryside, a mysterious older woman named ‘Kiddo’ and a cohort of overexcited teenagers meander towards Wonderland, a theme park like no other. Sinister secrets await as Kiddo and her compatriots face off with their hosts and draw closer to discovering the truth of their journey.
  • Creulon – High in the mountains above the sleepy town of Creulon, a charismatic Radio DJ and a malicious Serial Killer share a sinister connection.
  • No Such thing – An obsessed alcoholic and his reluctant grandson search the Mourne Mountains for the fabled Banshee. Synopsis: Decades after his Father’s death, Paddy’s search for the mythical ‘Banshee’ is unwavering. Conor loved his grandfather’s stories when he was a child, but now an adult, he’s tired of the camping trips and the unhealthy obsessions. As the two set off into the mountains, their real struggle isn’t a ghost story, but their own decayed relationship.
  • The Wyrm of Bwlch Pen Barras – Early one winter morning in the rural town of Rhuthun in North Wales, three men are called upon once again to carry out a terrible assignment on the Bwlch Pen Barras mountain pass. Shot on 16mm by cinematographer Sean Price Williams (Good Time, Her Smell) and featuring a score by Cian Ciaran and Dafydd Ieuan from The Super Furry Animals, The Wyrm of Bwlch Pen Barras is a Welsh language folk horror film about modern Wales, rooted in the country’s rich mythology.
  • The Lure – Late at night, a lone fisherman discovers he is not the only one hoping to hook something.
  • Find You Here – Find You Here is a gnarly piece of folkloric horror about what happens when a toxic couple find themselves at an abandoned scare event built on evil land. Will they survive the night?
  • My Dreams Have Been Dark of Late – A knight finds himself at the mercy of his armour.

BREAK

A chance to come out of the darkness and find nourishment before the second half of day one…

6:00pm – Folk Horror Panel (Hosted by London Horror Society)

One of the chats talks from Dead Northern 2022

Chris and the team from LHS will be joining us all weekend and bringing some special guests from across the film industry for a good old chat about Friday afternoons theme ‘ FOLK HORROR’.

7:00pm – Sins of the Father (Feature Film) – UK Premiere – Folk Horror

After the death of his father, Aden and his mother, Sarah, find themselves responsible for the sale of his family home – a place they thought they’d left behind. When Sarah’s friends arrive to help, the task seems almost manageable. However, as they clear out the house, they uncover secrets in Sarah’s past and the sinister nature of the cultivated community Aden was raised in…. And his father’s family is not so eager to let the sins of the past go unpunished.

9:00pm – The Wicker Man (50th Anniversary Screening)

The Wicker Man at 50: how the strange 1970s British film became a cult classic

One of the original trilogy of British Folk Horror films that established the sub genre, join us in a celebration of the iconic film on a very special anniversary.

The plot centres on the visit of a police officer, Sergeant Neil Howie, to the isolated Scottish island of Summerisle in search of a missing girl. Howie, a devout Christian, is appalled to find that the inhabitants of the island have abandoned Christianity and now practise a form of Celtic paganism. The Wicker Man is well-regarded by critics. Film magazine Cinefantastique described it as “The Citizen Kane of horror movies”, and in 2004, Total Film magazine named The Wicker Man the sixth-greatest British film of all time. It also won the 1978 Saturn Award for Best Horror Film. The final scene was number 45 on Bravo’s 100 Scariest Movie Moments, and during the 2012 Summer Olympics opening ceremony, it was included as part of a sequence that celebrated British cinema. The film brought the wicker man into modern popular culture.

10.00pm – Till Late – Welcome Social with London Horror Society (Pitcher and Piano)

For those ready to party and meet some like minded horror folk, head just 30 seconds across the road to Pitcher and Piano where we welcome horror fans to the 2023 festival!

Whether you’re a seasoned horror aficionado or a curious newbie, at our indie horror mixer you’ll have the perfect opportunity to connect with friendly and talented people, and share your passion for all things spooky!
The mixer will run from 10:00pm till late, giving you plenty of time to grab a drink, mingle and make new friends in the horror community.


See you there!

Hosted with our friends from London Horror Society!

Saturday – 30th September

Freshly bleary eyed from day 1, we’ll be welcoming you back to the City Screen (Bloody Mary in Hand) for day 2 of the fest!

11:00am – Satanic & Spooky Short Films

Opening Saturdays is a fantastic group of short films celebrating everything ghostly and demonic!

‘The Unquiet Dead’ jump scares and amazing practical effects in this scary short film!
  • La Nueva – Maria is the new teacher who arrives at an old religious school. On her first day, she will have to teach a group of rebellious kids who are part of a punishment class. An unexpected event will turn the classroom into a real hell.
  • Death Date – Boy Meets Girl on the Day of His Death
  • Fuse – An electrician finds himself stalked by a ghostly presence as he attends a night call at an elderly woman’s house.
  • Sylvie Made it – In hell, the dead work in call centers under the illusion of earning a place in heaven by satisfying the living. This is not worth the money for some, except when their loved ones suddenly disappear for heaven…
  • The Unquiet Dead – A therapist treats an unstable young woman who claims to be harassed by an assortment of malevolent spirits – who are demanding something from her.
  • Ghost Insurance – Stressed about the supernatural? Paul is selling ghost insurance policies, but one family isn’t convinced.

12:30pm – Haunted Ulster Live (Feature film) – Norther Premiere with Q&A – Paranormal Mockumentary

On Halloween night 1998, TV veteran Gerry Burns, teams up with popular children’s presenter Michelle Kelly to investigate poltergeist activity in a haunted house in Belfast. A seance causes the broadcast to descend into chaos. When the youngest child is mysteriously abducted by an unseen force, the two presenters must face their greatest fears on live TV.

2:30pm – Creature & Body Horror Shorts

‘The Heritage’ sure to creepy an gross you out in equal measures
  • The Heritage – After growing up adopted, a man makes a gargantuan discovery when meeting his biological father.
  • Dead Skin – Disgruntled teenager Jess has an itch she just can’t scratch and she’s willing to do whatever it takes to be rid of it.
  • Wormies – In 1980s suburbia, a distant family is forced to come together when the Summer’s hottest new toy, a cute aquatic pet, mutates into a repulsive monster.
  • Dinghy – After barely making it ashore onto the English coastline, a refugee and the man who smuggled him seek safety after a treacherous channel crossing, both pursued by and summoned to a place of darkness.
  • Growing Horns – On the verge of adulthood, Alva is studying meat cutting at a butchering school. Alva is severely bullied and her fellow students turn her daily life into torment. To control at least one aspect of her life, Alva has stopped eating. As the bullying escalates and her hunger grows, Alva begins to lose control of herself and sees red.
  • Forever – Shani and Amar are two half-dead girls, being sex-trafficked with a high price tag. When the thugs transporting them head to get food, the pair are hungry too and escape. They dodge the men in the shadows, but with hunger and dawn rising something has to give.

4:00pm – Video Shop Tales of Terror (Feature film)- Northern Premiere – Anthology Horror

A sinister video shop holds the key to a collection of terrifying VHS related tales, told by a collective of the best UK indie horror filmmakers including MJ Dixon (Pandamonium), Michael Fausti (Exit), Andrew Elias (The Numbers), Tom Lee Rutter (Day of the Stranger), Sam Mason Bell (The Millenial Killer) & Alexander Churchyard (The Allotment). With fake trailers from Tony Mardon & Geoff Harmer.

Horror legends Dani Thompson (My Bloody Banjo), Laurence R. Harvey (The Human Centipede II) join the cast, along with Martin W Payne (Monstrous Disunion), Hannah Paterson (Horrorscopes: Vol 1), Ayvianna Snow (Vampire Virus), Annabella Rich (Hacker), Chris Mills (Terror at Black Tree Forest), Cy Henty (Cleaver: Rise of the Killer Clown), Eve Oliver (Mask of Thorn), Charlie Bond (Powertool Cheerleaders vs The Boyband of the Screeching Dead), James Hamer-Morton (Dead Air) & Glyn Angell (Tales From the Great War).

BREAK

Saturday is all about pacing yourself so have a wonder around our Bizarre Bazaar marketplace in the City Screen basement and refresh your eyes for some unmissable evening events!

7.30pm- Spirits with Spirits (Live event) Sponsored by Sinners Gin

Dead Northern horror & fantasy events, entertainment news, fashion and lifestyle brand | Dead Northern

Back by popular demand Dead Northern’s resident ghost whisperer Paul Forster will be sharing some of York’s dark secrets and spooky stories and invite the audience to tell some of their own.

Partnered with a campfire cocktail courtesy of our sponsor Sinners Gin, who will have mixologists creating you delicious drinks throughout the spooky event.

9:00pm – How to Kill Monsters – Northern Premiere with Q&A (Feature film)

Our first ever fully sold out feature at the festival, and a brilliant gore fest to round of the second day of screenings!

The sole survivor of a blood-drenched massacre must team up with a rag-tag bunch of rookie cops and lawbreakers to fight off an invasion of monsters from another dimension. With a menagerie of monsters realised entirely with practical effects and buckets of fake blood and guts thrown in for good measure, HOW TO KILL MONSTERS will scratch the itch of horror fans craving a throwback popcorn horror movie that delivers thrills, kills and laughs in equal measure.

11:00pm – Awards party

No photo description available.

Fresh out of the sold out screening and Q&A, VIPs and filmmakers will head down into the main lobby to celebrate all the amazing creators at this years festival for one hell of a party!

Awards, live music and lots of new horror pals made, you’ll stumble home after (just about) surviving day two of Dead Northern 2023.

Sunday – 1st October

For festival goers looking to recover from Saturday night or just fuel up, there will be some amazing brunch available to keep you going for the final day!

11:00am – Thriller Short Films

‘Shut’ a spine tingling short film screening as part of the thriller shorts

Suspense filled thrillers kick of our final day, and are sure to keep you on the edge of your seat!

  • Caterpillar – Luke’s world is rocked when a stranger shows up claiming to be his partner. Luke descents into madness as he struggles to get the bottom of who the imposter is while also experiencing his own terrifying metamorphosis.
  • Shut – When Jonas visits his father after a long time, he’s shocked to find him in a confused state. Has his father’s mental state badly deteriorated or is something more sinister going on?
  • Morgue – Working the late shift at an old city morgue, the night porter passes the time playing pranks on the corpses. His usual party tricks come to an horrific end when after a delivery of eight new bodies earlier in the day, they vanish in the middle of a power cut…
  • Illusion – A delicious dinner, a stage, a magic show – what can go wrong? When Lisa accompanies the nice magician home after the show, she has to learn that some tricks are better not to be questioned.
  • The Family Man – Roger is the perfect Family man, but he keeps secrets , secrets that must be buried deep.

12:45pm – Dead Talks (Live Event)

Way back when we first started Dead Northern in 2020 we wanted to bring our own live horror podcast to the event, finally 4 years later we pilot ‘Dead Talks’.

Talks from industry professionals on spooky subjects, all will be revealed when you take your seat…

1:30pm – Dead on the Vine (Feature film) – Northern premiere with Q&A – Thriller

As two men leave a small rural town one of them has a seizure forcing the other to pull into the nearest place – A vineyard. The women owners are deep into prep for a make or break wine tasting but the men are welcomed in. But after recovering from his seizure one man throws a violent spanner into the works, leaving his friend and the women with choices that may destroy not only their business but themselves.

3:30pm – It be an Evil Moon (Feature film) – UK Premiere with Q&A – Werewolf horror

Brilliantly endearing feature from first time director Ben Etchells.

Set in the highlands of Scotland and Northern England, a disgraced scientist develops a hair growth formula derived from pickled wolfsbane which turns him into a bloodthirsty werewolf.

5:30pm – Music Videos

Fantastically disturbing ‘Flesh’ one of many brilliant northern submissions this year
  • Crooks Heart of Vengance – The story of a scientist inventing the key to eternal life. A couple of thugs steal his invention and leave him and his daughter for dead. In order to come back to life he sells his soul to the devil. Armed only with a heart of vengeance, and an Axe, he hunts down the crooks one by one. . . . They picked the wrong man to kill!!
  • Hoodie On – The fantasies of a serial killer. A car driver going fast on the highway. A murder has been committed.
  • Old Flames – A haunting portrayal of a recovering addict learning to live with her demons.
  • Subvisions – Flesh – Joshua is walking his dog into a dark tunnel and is attacked by a gang of carnivorous old people. They want his flesh.
  • The Windstorm
  • Candlestick Maker – Alien Chicks

BREAK

Almost reaching the end of Dead Northern 2023 and your final chance to enjoy the fantastic venue and city we call home for the weekend. Grab yourself some scran and then settle in for a brilliant final double feature!

7:00pm – Perfectly Good Moment (Feature film) – UK Premiere – Sci-fi Thriller

This psychosexual thriller asks the question: what happens when the things that make your relationship passionate and exciting are the same things that make it toxic? Ruby and David have been together on-and-off for 8 years, since she was 19 and he 34. Six months after Ruby last ran out on him, she has returned. Once the initial bliss of the reunion wears off, old toxic patterns re-emerge. Is David too demanding and controlling or is Ruby just too sensitive? Is Ruby as delicate and demure as she appears to be…or is there something more sinister behind the surface? Why did Ruby really come back? Perfectly Good Moment is Lauren Greenhall’s narrative directorial debut. It features Broadway star Stephen Carlile in his cinematic debut and Amanda Jane Stern (1 Angry Black Man, Lifetime’s Amish Witches). It marks Stern’s first feature screenwriting credit, and boasts an original score by Mdou Moctar’s Mikey Coltun.

8:30pm – Puzzle Box (Feature film) – UK Premiere – Found Footage Horror

Puzzle Box follows the story of a struggling drug addict, Kait (Boyé), and her younger sister, Olivia (Denne). Running from a violent incident in her past and not wanting to go back to rehab, Kait flees to a remote house in the woods to self-rehabilitate, where Olivia joins her to document the process. But they quickly find that the house isn’t what it seems and the internal layout is constantly changing, trapping them inside an inescapable puzzle box of a house. As they attempt to solve the mystery and find a way out, they discover there are far worse things in this house to be afraid of.

We hope you brought a spare pair of trousers… DN Alumni Jack Dignan returns with a punchy found footage horror leaving you terrified just before we send you back home on Sunday night!

Check out the full festival programme and get your tickets here!!

Categories
Curiosity Corner Dead Northern Festival News and Reviews

Parable games – Shiver

Have you ever watched someone run upstairs, when you know that you would have run outside? Have you yelled at the screen, because there’s a killer stalking right behind those happy campers? Do you secretly want to be in your own scary movie? Then there’s good news – because we did too.


Parable Games is proud to present to you: SHIVER – the Horror Movie Role-playing Game! Now you and your friends can find out once and for all who would survive a rampaging killer at summer camp, who would make it through the zombie apocalypse, and which one of you is most likely to use the others as bait for a hissing alien monster!

SHIVER is a tabletop role-playing game, or an “RPG” – but what does that actually mean? Well, it means that it’s a game where you play as individual characters, playing out a story created by another player – known as the Director, and the other players make up the cast of characters.

These characters are the kind you’d usually find in a horror movie: a jock, a cheerleader, an Antarctic scientist, a space marine… Whatever, wherever or whenever your story takes place, SHIVER gives you simple tools to make sure your characters fit in to your world.

“This sounds a little complicated” you might be thinking, and you’d be right. It does “sound” complicated – but it actually isn’t! Parable Games loves games (surprise-surprise), but what we love more is getting new people to play games. SHIVER is designed to be a game that you can pick up and have fun with, even if you’ve never played anything more complicated than snakes and ladders.

So, how does it work? SHIVER uses an intuitive symbol dice system, where each symbol represents a different “skill” – or to put it a different way, a different way your characters might solve problems. Solving problems with your fists? Then you’re lying on your Grit skill. Maybe you face your challenges more with your brain than your brawn? Then that’s Smarts. Different characters have different skill strengths and weaknesses based on their personality, but each of them can try anything – here’s nothing like learning a new skill when your (fictional) life is on the line!

Why not gather your friends round for a scary movie night, but this time you’re all going to be in the movie! All you need to get started is the SHIVER Core Rulebook. With this simple and easy to read guide to the dark and unknown (world of RPG rules), you’ve got all you need to get started. We have a free online digital dice roller so if you wanted to roll ‘dem bones virtually, go ahead and give it a try.

With the SHIVER Core Rulebook you can run stories anywhere from a cabin in the woods to the International Space Station, and any-when from the dawn of mankind to the space faring future. Whatever your imagination can conjure up, SHIVER can help you turn it into an interactive, spooky experience.

Of course, horror is a varied and many headed beast. We know that. That’s why we’re always working on expansions for the game – new books themed around some of our favourite horror sub-genres…

Gothic horror – with Vampires, Frankenstein’s Monster, and the Wolfman fighting supernatural horrors in Victorian London? We’ve got it covered in SHIVER Gothic.

Maybe your tastes lie less in the fantastical – maybe you’re more of a “nothing’s scarier than a guy with a knife who just… SNAPS” type. If that’s your modus operandi, then you’d need to keep an eye out for SHIVER: Slasher. A decades spanning story where the killers always come back, but the survivors aren’t guaranteed as much.

If you struggle with the hardcore violence in horror, or maybe you want a more safe way to introduce your love of the genre to sceptical friends or family – then SHIVER: Blockbuster is the answer you’re looking for. Giant Sharks, Spaceship Adventures, Ghost Pirates and Skeletal Dragons? Launch your own mega-horror-franchise with bang!

We love horror, and we love horror movies. It’s why we’re proud to sponsor Dead Northern, and why we can’t wait to be there, but most of all it’s why we made SHIVER to begin with. We wanted to play our favourite horror movies, but also make our own – and besides, how many games can you play where you actually get to kill your friends and still get to keep your friends? Not many, I’ll tell you!

Want to give SHIVER a try? You can sign up to our mailing list and receive a copy of our QuickStart version of the game!