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Curiosity Corner Dead Northern Festival News and Reviews

Unusual Horror – Underground Horror Apparel

Created in 2020, ‘Unusual Horror’ has been bringing the brutality of underground horror and metal to market, giving fans of slam, death metal and extreme horror a means to express themselves. The brainchild of someone whose two obsessions of extreme metal and horror have culminated in the creation of brutal apparel and accessories for the community.

‘Unusual Horror’ focuses on 3 main areas: Horror inspired prints, slam & death metal merchandise and underground/extreme horror licensed merchandise. Through collaborating with underground bands, directors and independent artists, you are guaranteed to get a once in a lifetime piece of merchandise. From the likes of t-shirts, hoodies and other apparel donning edgy death metal script and independently designed artworks, those in the alternative community have a new way to express themselves.

Initially starting with a handful of pieces that donned edgy prints of Nuns in illicit situations and other quintessential metal-like prints, like Baphomet at a ritual, etc, the brand has grown significantly. With popular designs such as the ‘Sisters of …’, ‘Ritualistic Offering’ and ‘GoreChrist’ being repeatedly re-printed due to high demand – the want for more extreme prints is simply growing. It appears that people in the alternative circle are sick of the tame designs from the likes of Killstar and are now hunting down these sorts of designs, which ‘Unusual Horror’ are serving up to the masses. They pride themselves in collaborating with independent artists to offer the best quality and unique pieces, which give the buyers a unique item and the artist more exposure for their work. With new designs very much on the way, ‘Unusual Horror’ fans are in for a hell of a ride with their new signature collections and not to mention new additions to the ‘Sisters of…’ collection.

Unusual Horror Store


On top of their signature pieces, ‘Unusual Horror’ also gives a home to those fans of extreme & underground horror; creating licensed collections of some of cinema’s most controversial titles. With titles like ‘Deathgasm’, ‘Septic’, ‘Nekromantic’ & ‘American Mary’, the store’s collection only seems to grow with each release. Boasting a huge accomplishment with their latest release, their ‘A Serbian Film’ collection is classed as the only licensed merchandise collection for the film (worldwide) and has received a huge amount of interest since its pre-order release.

Unusual Horror Store


‘Unusual Horror’ prides itself in collaborating with these underground and extreme film makers, to allow them to have the same type of platform that the more mainstream horrors get. Regardless of backlash from people who aren’t fans of the extreme side of horror, it appears that, thanks to ‘Unusual Horror’, the world of extreme horror is simply growing, simply due to people wearing the merchandise and boasting their interests in this type of film – something that many fans have had to suppress due to lack of representation in clothing and also the fear of judgement.


It isn’t just licensed merch that they are passionate about on the front of extreme horror, their newest venture will see them distributing new underground/extreme horrors. They have recently received the distributing rights to up and coming Italian, queer extreme horror films
‘ELDORADO’ and ‘La Perdición’ by renowned director Domiziano Cristopharo, who directed films like ‘House of Flesh Mannequins’ and ‘Xpiation’. Filmed in Gran Canaria, Director Cristopharo boasts that these films are the quintessential watch for any extreme horror fan that has an interest in queer cinema. These are aiming to be released in December 2023 with a brand new range of merchandise for each film that should tantalise any extreme horror fan.

It’s clear that ‘Unusual Horror’ doesn’t just make merchandise, but have now expanded their options by creating distribution options for underground extreme horror; a feat many small brands couldn’t accomplish. Their final pillar of interest is mainly focussed on the slam/death metal/deathcore scene; this has always been a focus for the brand, with their logo invoking similarities to a lot of death metal band logos. This passion for underground music has been a catalyst for the brand, with them creating merchandise for local and home-grown death metal bands and allowing fans to show off their favourite underground metal bands, while also letting these smaller bands have the option to promote themselves. They have created merch for bands like ‘Guttural Slug’ and ‘Devourment’, while also showcasing smaller local bands by the likes of ‘Coprocephalic Mutation’ and ‘357 Homicide’.

‘Unusual Horror’ have been at the forefront of providing good quality pieces with brutal designs that have satisfied the masses of slam and death metal fans world wide, but their efforts to preserve and support the community don’t end with merchandise creation and distribution.
‘Rancid Offal Promotions’ was set up in 2022 by a member in the scene, as a means to get these underground slam, death metal and grindcore bands on stage and touring; there was a knowledge there that there was a huge fan base, who simply didn’t have the opportunity to see these bands live.

‘Unusual Horror’ began to collaborate with the original team of RxOx, in the way of merchandising and advertising and soon was adopted under the brand after the success of their first event. Thanks to RxOx and the collaboration with ‘Unusual Horror’, underground metal has a home for live performance. Starting with their first ever festival ‘Offal Fest’ in March 2023, the event showcased bands like ‘Crepitation’ and ‘Twitch of the Death Nerve’, while also bringing over ‘Guttural Slug’ to perform ‘Megalodon’ in full.

This was a huge moment for the scene, as this was ‘Guttural Slug’s’ debut live show, with them also playing one of the most influential albums in the scene. This event was not some local affair, patrons from overseas came from the likes of America and Canada just to check out the first ever ‘Offal Fest’. Since its creation RxOx has been planning and creating more events for the community to feast their eyes on. They have many upcoming events, like ‘Goremageddon’ and ‘Cannibalising the UK’, showcasing bands like ‘Torsofuck’ and the reunion of ‘Pivorapist’. RxOx are now the heart of the community and are bringing these brutal lineups to the masses, and their reign of terror will not end, as the next ‘Offal Fest’ is looming over the horizon.

In short, ‘Unusual Horror’ is a home for those who have been ostracised because of their interests in extreme horror and music. Their space and apparel are for those who stray between the lines of brutality and extremity, who don’t wish to align with societal norms. Whether you are an extreme horror or music fan looking to showcase your favourite niche band or film, or an alternative person looking for something just a bit more heavy to wear out and about, ‘Unusual Horror’ has it all for you. This is only the beginning for them, not just merchandise wise, but also in the sense of live music and film distribution.

When you buy your first piece from this incredible small brand, you will not just be holding a piece of merchandise, you will now be a part of an ever-growing community of fans who walk to their own beat. Make sure to keep an eye on both ‘Unusual Horror’ and ‘Rancid Offal Promotions’, as you are in for a treat and don’t want to miss out on what’s coming.

Buy online at https://store.unusualhorror.com/

Instagram instagram.com/unusualhorrorstore

Facebook facebook.com/unusualhorrorstore

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Curiosity Corner Dead Northern Festival News and Reviews News

Dead Evil Clothing

Dead Evil Clothing is a grass roots start up horror & alternative apparel brand based in York, the most haunted city in Europe!

We are life long horror fans, and our mission is simple: to clothe the masses in the darkest and most spine-chilling fashion possible. We believe that true style comes from embracing your inner demons and wearing them on your sleeve (or on your t-shirt, hoodie, or hot-pants, for that matter). 

Bringing a new, exciting perspective to horror & alternative fashion, our ghouls will be creating designs that celebrate the genre in a unique and memorable way.  We aim to build a community of horror enthusiasts who have a passion for the genre, and who are not afraid to express their love for the macabre and unconventional.

We have big goals and aspirational plans for Dead Evil, and our focus will not only be apparel but we aim to move into home decor, a podcast, a sister alcohol brand and eventually a physical themed shop for all you ghouls out there. The final piece of the puzzle will be Dead Evil Films, who are currently underway creating their first horror short.

Alongside this we have also created the Dead Evil Initiative, a community program created to support and inspire the creative side of the alternative and horror community. Our goal is to provide a platform for horror artists, musicians, and other creatives to showcase their unique and imaginative works. Every time you buy an item you are essentially helping the horror community thrive.

As part of the initiative, we pledge to donate 5% of our yearly profit to support and promote the most innovative and boundary-pushing projects in the community. Whether it’s an underground horror film or an alternative art exhibit, we want to help make these projects a reality and push the limits of what’s possible. So join us in supporting the Dead Evil Initiative, and let’s celebrate the spirit of creativity in the horror and alternative community!

Did your rotting hearts beat at what you’ve just read, well if you’re ready to embrace your dark side, come join us at Dead Evil Clothing. We promise you won’t be disappointed – or if you are, it’s probably because one of our cursed items has possessed you. Either way, it’s a win-win in our book.

Check out more Dead Evil Clothing at

Buy online at www.deadevilclothing.com

Intstagram instagram.com/dead_evil_clothing

Facebook facebook.com/deadevilclothinghorrorapparel

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Curiosity Corner

Facts you never knew about the ‘video nasties’


1 – One film has never made it out of the nasties list

As any horror fan will tell you, the ‘nasty’ period was brutal for the genre, with every film on the list going through rigorous censorship campaigns, resulting in many films not being released fully uncut until the mid-2000s. However, despite the times moving on, one film has still never seen the light of day in the UK. The banned culprit in discussion is Gestapo’s Last Orgy (1977), an exploitation flick centred on the horrors of war. 

2 – The media’s concern went further than you could believe

In an interview regarding the nasties’ ability to infect the public’s minds, MP Graham Bright, stated that “research is taking place and it will show that these films not only affect young people, but I believe they affect dogs as well”. 

3 – House of Commons goes to the cinema

As part of the NVALA (National Viewers and Listeners Association) campaign to ban the rise of horror, the organisation compiled a compilation of some of the more bloody moments from the films in question. This compilation was shown to ‘prove’ how horrid these films were, eventually convicning parliament to create laws and legislations that would change the path of horror cinema for decades to come.  

4 – Real or fake – the case of Cannibal Holocaust (1980) 

The infamous Cannibal Holocaust was not neccesarily the ‘worst’ film on the list. However, its use of firsthand footage and its mondo influences meant that director Ruggero Deodato was actually arrested for obscenity. The graphic material was so absurdly gruesome that the authorities eventually changed his charge to murder, as there was ‘no way’ that the performers actually went through the stunts voluntarily. Eventually, the case was settled when Deodato brought out the cast and proved that they were in fact still alive. 

5 – Havoc at the video store

When the authorities were at the peak of prosecuting films, they would patrol local video shops hunting for obscene films. However, due to the officers not actually viewing the films, they did not always know which movies to lift from the shops. According to official documentation, Dolly Parton’s comedy musical ‘The Best Little Whorehouse in Texas’ (1982) as well as the acclaimed Apocalypse Now (1979) was seized simply due to their names. 

6 – False evidence

It was not uncommon to see newspapers and reports comment upon the nasties as being equivalent to exercises in sadism that have the potential to tarnish the minds of Britain’s youth. However, when this was actually investigated, the results pointed elsewhere. Dr Guy Cumberbath was more than hesitant over the claims, resulting in him interviewing students at primary schools about the latest nasties. Most of the kids admitted to watching these films and enjoying them, but as part of the study, Cumberbatch would ask about fake titles that didn’t actually exist, all of which the participants would claim to have consumed. 

7 – The rise in popularity 


The protests against the nasties were vigorous and strict, yet that did not stop the list of films gaining significant positive attention. One of the more popular nasties was Sam Raimi’s The Evil Dead (1981), with the film’s first VHS release in 1983 (prior to the Video Recordings Act [1984]) garnered £100,000 in profit from its UK sales, making it both one of the quickest selling video releases in the history of home video.

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Curiosity Corner Retrospectives Reviews

Deep dive – The history of folk horror in cinema

Robin Hardy’s THE WICKER MAN (1973). Courtesy: Rialto Pictures/ Studiocanal

The lens of folk cinema captures the evil beneath the soil that haunts the land and infects those who rebel against it. Those unfortunate souls who dare taint the grounds suffer greatly, leaving devastation in its wake and causing hysteria and havoc amongst worried souls, simultaneously cultivating rich growth for the horror in lore, myth, and legends. It is an alarming yet alluring ethos that propagates the success of folk horror. 

Over the years, folk horror has seen a significant boom in popular horror cinema, with the likes of The VVitch (2015) and Midsommar (2019) and the equally successful but far more underrated Kill List (2011) and The Ritual (2017). With these films holding supreme status in modern horror, a deep dive into the origins of the folk horror subgenre has never been more pertinent. 

Where to begin… 

Folk horror holds its roots in nearly every country. It isn’t easy to pinpoint a specific religion that holds the key to folk cinema, with the genre belonging to many cultures. Folk derives from folklore, translating to individualised mythology from various societies. What has become known in mainstream media as ‘folk horror’ with all of its iconography and archetypal symbolism is, at the crux, derivative from British lore. For example, the bones of folk horror that audiences have come to know and love today are birthed from Pagan rituals; it’s the profound meaning of life and death, the cycles of nature, and the importance of worshipping a higher power that amalgamates with the genres eerie rhetoric that provides such influential works. 

The Unholy Trinity

Every reign of horror has its champions. Folk horror’s genre-defining entries can be found in The Unholy Trinity, consisting of Witchfinder General (1968), The Blood on Satan’s Claw (1971) and The Wicker Man (1973). Mark Gattis first coined the term in the BBC docu-series A History of Horror in 2010, which was soon adopted as the official definition of folk horror’s primary instigators. Each entry into the Trinity is entirely unique and somewhat different from one other despite their blanketing together (which can be quite the metaphor for how broad the scope is on folk cinema). 

Michael Reeves’s Witchfinder General chronicles the self-appointed witch-hunter Matthew Hopkins (Vincent Price), following his misdeeds throughout small rural villages across East Anglia. The cruel barbarism that follows in the wake of Hopkin’s actions creates a structure that can only be described as a mob-like ruling where sovereignty is not earned and equally placed but instead stolen by whoever holds the most power. Witchfinder General depicts Hopkins as he storms in and does not simply command authority but instead takes it from his victims. 

British folk horror storylines thrive in the social divide seen in the likes of Witchfinder General; the films allude to how the most significant threat does not strictly adhere to paranormal entities and ghoulish ghosts; instead, it’s the same civilisation that one belongs to. This essence of fearing your fellow neighbour and evil lying within the home is further explored in Piers Haggard’s The Blood on Satan’s Claw. 

The motivations behind much of the folk horror seen in the mid-1970s surrounded the hippie counterculture that dominated the landscape during that time. The decade saw a rise in young people declaring a belief system that went against the common consensus. They protested the war, dabbled in the increasingly popular substances arriving in the common market, and openly expressed the desire to change the system. The Blood on Satan’s Claw follows a group of young people in a small village being overcome and possessed by the devil himself after a skull is found underneath the town’s ground. 

The cult of demon-worshipping children is shown infiltrating and recruiting other members to the group until eventually banding together to cause ultimate destruction. The film can be easily read as an on-screen recreation of the disharmony that was arising at the time, with the notion of sudden societal uproar being one of the critical themes of the film. 

Out of the trinity and the entire catalogue of British folk horror, one of the most crucial, successful, and effective films has to be The Wicker Man. Robin Hardy’s classic follows the residents of Summerisle as they complete a ritualistic sacrifice for the land to ensure a fruitful harvest. The Wicker Man remains the most influential folk film and one of the most important horror films in general across British cinema. Throughout the film, the main character is Summerisle. It’s a symbolic living and breathing organism that devotes itself to the people, and in return, the residents nourish it with sacrificial flesh, blood and bones.

Beyond The Unholy Trinity

Amidst the horticulture of the well-renowned Trinity was a string of TV specials that have become ingrained in the thesis of British folk horror. Television, possibly more so than cinema, is entirely reflective of its audience. Britain is known for its blunt and bleak outlooks and humour, meaning that much of the fictitious media to come from the country relies on the nation’s unique nihilistic framings. 

Whistle and I’ll Come to You (1968), Penda’s Fen (1974) and Red Shift (1978) are just some of the many television specials that captured Britain’s gloomy atmosphere with the traditional folkloric spirit. With these television specials also came a form of notoriety that allowed folk horror to be available to a broader audience than film allowed. When speaking of the times, not everyone had the time or ability to go to the cinema and view these fantastical folk films. However, many had access to a television set where these spooky entries would interrupt the standard Saturday night entertainment specials to display the most tempered and sinister of frights. 

It was a time of paranoia, with the events in the news being scarier than any film or book anyone could have ever witnessed. With this, a level of immunity was stripped back, children would walk past paper stalls with the sinister headlines in full sight, and the daily news report would blare on the radio over breakfast. The presence of these shows was momentous. It was a chance for ghastly stories to enter the home and invade the keep calm and carry on attitude. Folk horror uses the presence of rural locations, familiar faces, and supposedly ‘quaint’ bonds as a vessel for actual, brutal disharmony to break through. The prettiest village harboured the most terrible secrets; ancient curses lay underneath the silent fields, and the longheld family unit could be disrupted anytime. 

Today’s context

Folk horror has never been more alive. The messages and symbolism seen in the likes of the Trinity still resonate from a contemporary perspective. For example, The Wicker Man is celebrating its 50-year anniversary this year, yet its connotations are more significant now than ever. With every harvest, the Summerisle residents must offer a human sacrifice to appease the ground’s thirst. In its rawest form, the film’s discourse surrounds how society’s actions profoundly affect earthly structures; the soil beneath us is not forgiving and requires care. Similarly, if we take a look at the whole Trinity, the entire pathology of every film can be sourced back to how the ecological landscape holds great power, and with great power comes a right to respect. 

This aspect of the Anthropocene is and will always be a landmark in understanding folk horror. The relationship between land and human intervention is at the heart of many folk entries. As The Wicker Man implies, the people no longer live on Summerisle as simple occupants. They are intrinsically connected to the land. They must offer a sacrifice; otherwise, their well-being will wither with the ground beneath them. 

Legacy 

Folk horror has birthed an entire subset of movies. Even films that do not necessarily fall into the lines of folk horror weaponise the standard folk format to convey its harrowing message. Take, for example, In the Tall Grass, the 2019 horror based on Joe Hill and Stephen King’s 2012 novella. The film implies that crops hold some form of supernatural power over those who dare to step foot on the land. Even The Blair WItch Project (1999) has a folkloric undertone, with the group of explorers being purposefully misled in a forest due to a presence that controls the woodland. Akin to nature itself, folk horror is everywhere, it’s inescapable and has never been more potent.

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Curiosity Corner Events

What to expect at a Horror Film Festival?

Whether you’re a fresh fresh-faced youngster who’s just turned 18, new to the horror genre or a veteran fan who decided to venture from the comfort of their couch. There’s a chance you’ve never been to a horror film festival, so we’ve put together this short guide on what to expect.

At Dead Northern, we have our own unique way of doing things, but there are themes and experiences that are common to all film festivals (horror or otherwise). So whichever event you choose you’ll find a great place for fans and filmmakers alike to come together and celebrate their love of all things spooky and showcase some of the best and most unique horror films from around the world.
You’ll often find special guests, Q&A sessions with filmmakers, costume contests, and other exciting activities.

Here’s what you can expect at a horror film festival:

Screenings
The focus of any horror film festival will be its line-up of movie screenings so expect to see some truly terrifying movies. You’ll get to see new releases, classic favourites, and a host of shorts from up-and-coming filmmakers.

One thing that makes horror film festivals so exciting is their variety of films.
Whether it’s slasher flicks, psychological thrillers, or supernatural tales, there will be something for everyone at these events. You can also expect to find some lesser-known independent films that don’t normally get much attention in mainstream media outlets. Many festivals also include short programs or themed blocks that focus on specific subgenres such as zombie films or creature features. There’s usually something new and unexpected each year!

Panels & Events
Many horror film festivals also include panel discussions with filmmakers, actors, and other experts in the industry. This is a great opportunity for fans to interact directly with their favourite creators and gain insight into how they make their movies come alive on screen. Other events may include Q&As with cast members or costume contests where attendees can show off their best ghoulish looks! Don’t forget to bring a pen and a programme as the end of a Q&A can be the perfect opportunity to get some celebrity signatures.

Q&A with Charlie Adlard at ThoughtBubble 2022

Special Guests

Many horror film festivals feature special guests from the world of filmmaking who provide unique insight into their work and experiences with making scary movies. These guests often include directors, writers, actors, producers, and other industry professionals who have made significant contributions to the genre over the years.

You may also find that these special guests are there for the duration of the festival, so keep that pen and programme handy for signatures.

Just remember that because someone is famous, they’re still human beings. So, treat them with respect, no one wants a pen shoved in their face and they don’t owe you a signature.

Fun Activities & Events

Most horror film festivals go beyond just screening movies by offering fun activities like costume contests, trivia nights, scavenger hunts, escape rooms, haunted houses, and more! This is a great way for attendees to take part in some extra entertainment while celebrating their favourite genre.

At Dead Northern, we’ve hosted a Séance (pretty sure that’s a first), campfire ghost stories with the audience and A horror-themed Prom just to name a few.  

Spirits with Spirits – Telling Ghost stories with audience participation

Merchandise
Horror movie buffs know that merchandise is an important part of fandom culture which makes it no surprise that many horror film festivals have vendors selling memorabilia like posters, t-shirts, DVDs, collectables and more at their events. It’s always fun browsing through these booths filled with spooky goodies! Check out our Dead Northern Signature merch here or go to our Etsy page for more horror-related merch click here

Friends & Community

Like most things in life, doing them in the company of others only enhances the experience. So, if you’ve got like-minded friends book together and come as a group.

If not, it doesn’t matter if you come on your own. You’re in a cinema, and you’re going to be watching movies and likely sitting next to a stranger for days, so just say “Hi”. Ask any film festival regular and they’ll be able to point to at least one close friend they made from attending an event.
And don’t worry about being shy, if one of the Dead Northern team sees you floating around on your own, we’ll come and chat with you. It’s all part of Northern hospitality!

Old and new Friends at Waxy O’conners Frightfest 2022

Networking

There’s a time and a place to be throwing business cards out like a magician, and the festival isn’t one of them. That said festivals are a hive of industry talent so talk to people (outside the screenings!). You never know, the next person you talk to may just be the scriptwriter you’ve been looking for.

Networking at Dead Northern 2022

Parties

When the movies stop the parties start! Every film festival will have a party of some sort. At Dead Northern expect live entertainment, live music, awards, and a bar that’s open ‘til the early hours. This part we love. Dead Northern was born from a beer festival, we like a party.

After party and awards at Dead Northern 2022

Atmosphere

Last but not least – don’t forget about the atmosphere when attending a horror festival! Expect lots of cosplayers dressed up in costumes inspired by characters from your favourite scary movies along with plenty of decorations throughout the venue set just the right mood for some frightful fun! Overall, if you love horror films then attending a local or international festival should definitely be on your bucket list this year! There are so many amazing experiences waiting just around the corner – all you need to do is take that first step towards discovering them yourself…

We can’t wait to meet you at one of our events but it’s only fair to give a shout-out to the other festivals scaring people up and down the country –  Check out our post about the other horror film festivals in the UK.

If you’ve decided you’re going to join us at one of our events make sure to read our top ten ways to survive a horror film festival.

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Curiosity Corner Dead Northern Festival News and Reviews

Dead Northern 2022 in Pictures

We had an absolute blast at Dead Northern Horror Film Festival 2022! Take a look at some of the highlights from our award day 24.09.22.

Our beloved spooky home at City Screen Picturehouse, York.

Horror fans making some deathwishes with our sponsor DeadHappy – You can still use code ‘Horror’ to get your 2 months free life insurance.

Our 2022 festival T-shirt from Dead Comfy Clothing

Film makers and film fans grabbing a refreshment in between screenings.

Our newest sponsor Talk Talk giving out all the free sweets for horror fans
Cast and crew of ‘The Stranger’ grabbing a photo before the world premiere
Deadites heading into our big screen …
Huge line up for the weekend!
Our amazing Skeleton Crew at the Picture house
Dead Northern 2021 award winners and alumni Tony Hipwell and David Yorke attending their second Dead Northen with their new short films
One of many Q&As over the weekend
Stars of The Stranger posing by our 2022 banners
Director of Eating Miss Campbell Liam Regan striking a pose before the final Saturday screening and an energetic Q&A
Star of Searching for Veslemøy posing with Dead Northern mascot ‘Walter’
Energetic Q&A with cast and crew of ‘Eating Miss Campbell’
Award ceremony and after party kicking off with Co-founders Josh and Gareth
Huge applause for the first award ‘Best local film’ sponsored by Talk Talk
Director of The Stranger picking up the award for ‘Best Local Film’
Director of ‘The Lies of our Confines’ Leon Oldstrong picking up the award for ‘Best Feature’
Director Louisa Bablin picking up the award for ‘Best Student Film’ for ‘No Place Like Home’
Alix Austin and Kier Siewart picking up the award for ‘Best Short Film’ with the brilliant ‘Sucker’
Founder Josh and sponsors DeadHappy presenting the brand new award for ‘Best Death’
Winners of ‘Best Death’ Liam Regan and star of eating Miss Campbell Lyndsey Craine
Live music closing out the second day of the fest, until about 3am from memory….

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Curiosity Corner News

Press release – In Dreams Are Monsters

In Dreams Are Monsters is the latest theme for the BFI’s Blockbusters season. Unveiling the rich history and nightmarish lore that the horror genre thrives in is the basis for this upcoming tribute to the dark world of cinema. 

Deriving from the midst of macabre works is the unique sensation that horror exudes, whether that be in ghastly supernatural tales such as Japan’s Ringu (1998) or the transgressive feat of Hellraiser (1987), the film can exasperate the true terrors that lie in societies wake through a lens of obscurity and trepidation. Across the wide spectrum of audiences, the promise of fulfillment is a big statement that In Dreams Are Monsters does not falter upon. In fact, the programme braces the screen for a frightful assortment of features that takes full advantage of horror’s ubiquitous nature. There really is something for everyone. 

Diving deeper into the programme unveils the vast array of themes that have been meticulously curated to conjure a tonal palette reflective of five mythical horror archetypes and the consequential themes that marinate within the models. The beast, ghost, vampire, witch, and zombie delve into the bottomless pit that horror manages to explore through a socially equipped lens, defusing the everyday with assiduously constructed terror. The patterns of the witch denote a threat to the patriarchy, redefining the grossly strict hegemonies that disavow gendered power. This sense of obscurity is also unearthed within the vampire, sucking the life out of others in a strange bid for both life and eroticism within death. Likewise, the beast, ghost, and zombie release a trajectory that aims straight for the apex of societal uphold–monsters may be mythical, but monstrosity is everywhere. 

The arrangements of the programme are tailored by the likes of Micheal Blyth (BFI Festivals, senior programmer), Kelli Weston (Writer), Anna Bogutskaya (writer/broadcaster), alongside Jason Wood (BFI Executive Director of Public Programmes & Audiences). 

Screening alongside triple bills featuring Blacula (1972), Ganja & Hess (1973), and Def by Temptation (1990); the showings of classic monster movies such as Frankenstein (1931), Creature from the Black Lagoon (1954); and even contemporary staples namely Under the Shadow (2016) and The Lure (2015) is a range of guest appearances. Oscar-winning filmmaker Danny Boyle graces the stage for a Q&A following the 20th-anniversary screening of 28 Days Later (2002). Joining the season for conversations and commentaries are Kier-La Janisse (author of House of Psychotic Women [2012]), Lesley Manning and Stephen Volk in a Q&A for Ghostwatch (1992), and Clarence A Peters introducing the premiere of his new television drama Inside Life (2022). 

The immensely packed programme also features a special edition of Mark Kermode Live In 3D, as well as the horror podcasts Evolution of Horror, Brain Rot, and The Final Girls welcoming their commentary on the impact of horror.

With In Dreams Are Monsters travelling all the way into December, selected events will be taking place, including the BFI IMAX cinema being converted into a spooky summer camp for an all-night sleepover, where guests will be marathoning cabin-themed slasher films!

More details on all the screenings and events here

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Curiosity Corner Reviews

The Power of Music in Horror- Part 2

An individual’s predisposition to fear is mainly connected to sound. The sudden appearance of a horror film’s threat, whether it’s a demonic creature or a knife-wielding boogeyman, their presence is always going to stir a reaction. However, it’s the audio cues that first unleash the terror and sheer panic amongst the viewer. Before Freddy Kruger makes an appearance in his victim’s dreams the faint scratching sounds of his bladed fingers arise to our attention, followed by the recurring twisted nursery rhyme of “One, Two, Freddy’s Coming For You”; the basis of reaction can all be traced back to the power of music within the film. 

The 1990s were a time when horror films thrived in maximalism, ensuring that no theatrical stone was left unturned. The costumes were always exaggerative of the storyline, the background and setting were beyond dramatic, and the music was crucial in setting the tone, with an emphasis on curating a soundtrack that would be as impactful as the dynamic seen on screen. 

The character of Dracula has gone through leaps and bounds of representations. The Count has been parodied and trivialized (e.g. The Monster Squad [1987] and Waxwork [1988]), and he’s also been made darker and almost feral (e.g. Dracula [1931]). Out of the countless adaptions, one film that is timelessly recalled is Francis Ford Coppola’s Bram Stoker’s Dracula (1992). Coppola eroticises and sensualises the entire plot by granting a god-like capacity to Dracula where his power transcends beyond blood-sucking, instead his grandness is all-encompassing to the film’s entire environment as if Dracula surpasses the barrier of the screen and has a hold on the viewer. The deliberate hazing is accented by composer Wojciech Kilar’s enigmatic score that fuses large orchestral structures to be both melodically gentle but still ostentatious and lord-like as if the music was formulated by an immortal being, Dracula himself, a character both charming and deadly. 

The boastful score takes over the screen and demands nothing but full attention. In what can be considered a bold move by creating a dominating score, a sense of might is pushed towards the horror movie soundtrack, allowing for future films to spiritually feed from Coppola’s and Kilar’s forcefulness in fashioning powerful music for further films to come.

Horror as a subject can be pliable, what works for some might not work for others, however, one factor that runs throughout is the means to jolt a fright, whether that be a playful fright or a deeply souring fear is totally individualised. As the early 1990s were shaping there was an influx in ‘family horror’, films where mature audiences would feel nostalgia for their discovery days of the genre, and younger viewers would be excited to be introduced to the world of horror. Films such as Hocus Pocus (1993) and The Nightmare Before Christmas (1993) saw phenomenal amounts of success across the board that still lasts to this day. Both of these films’ signature relies heavily upon the music featured. Hocus Pocus saw Bette Midler performing the Halloween classic “I Put a Spell on You”  (Jalacy “Screamin’ Jay” Hawkins), which remains a spooky season staple for many. Alongside Hocus Pocus was Danny Elfman’s composition for The Nightmare Before Christmas which was awarded a Golden Globe for Best Original Score (1993) and also featured on the US Billboard charts at No. 64. 


Skipping back a few years, no matter the genre cinema was thriving on big powerful movie ballads seen in the likes of Dirty Dancing (1986), Mannequin (1987), and The Bodyguard (1992). Amidst all these love songs came a rising popularity for creating movies that revolved around its sound. That isn’t to say that other cinematic elements were being surpassed, it just meant that a strong focus was also placed upon the soundtrack.

Quentin Tarintino is the perfect example of a filmmaker who uses music as a character. And when it came to his and director Robert Rodriguez’s From Dusk Till Dawn (1996), the music played one of the largest roles in the film. The irreverently charged horror is known for its chaotic characters, purposefully sleazy setting, plasmic-coloured green blood and gore, and a killer soundtrack. The dark southern score is laden with rock and blues anthems that keep the film from seeming like a peep show. The range of musical numbers features bands including ZZ Top, Tito & Tarantula, and The Mavericks. But the most quintessential tune that is synonymous with the film is “After Dark” (Tito & Tarantula), also known as the song that plays during Santanico Pandemonium’s (Salma Hayek) dance scene with an Albino Python. After Dark encapsulates the film’s entire ambiance, where the moody tones are spiked with velvety vocals and deadly lyrics that tell the story of forbidden wants and bumps in the night. 

From Dusk Till Dawn is so engrained with the idea of music that even the scenes themselves are heavily based on the importance of music as a filmmaking tool. Particularly during the scene where the on-stage band (also played by Tito & Tarantula) start using a human torso as a guitar during a mass brawl at the infamous bar ‘The Titty Twister’. 

Mary Harron’s American Psycho (2000) helped redefine and recontextualize the use of music in horror in the early 2000s. The film follows Patrick Bateman (Christian Bale), a murderous city swindler who has an odd penchant for music, especially whilst he is committing his deadly deeds. Artists including David Bowie, The Cure, Phil Collins, and New Order amongst many others appear on the bold and ambitious soundtrack that to this day is still used as a cultural reference. The film toys with the omnipotent power of Bateman who somehow carries out wildly violent acts in an open manner without much of a guise, with the film’s most fluorescent and upbeat songs (including Huey Lewis and the News’s “Hip To Be Square”) playing over his psychopathic killing/monologue scenes. To nicely meld the theme of desensitisation into the plot, the pop and New Wave music is strategically and continuously peppered throughout the film, making the surrealness of his dark actions being committed in a well-lit and mainly open environment seem even more dreamlike. 


A couple of years down the line from American Psycho was 28 Days Later (2002), a rattling zombie movie that dials up the bloodcurdling terror to a ten from the very first scene. Director Danny Boyle leaves no room for air as the lightning-fast flesh-eaters are constantly on the hunt, and always capture their prey with ease. To go with such a heart-pounding, exhilarating narrative is the post-rock soundtrack that also combines orchestral swells to fill in the gaps. 28 Days Later’s setting ranges from a desolate London town to empty motorways and army barracks abandoned thanks to the ‘rage virus’ sweeping the country. The silence and stillness of the apocalyptic landscape are filled by the loud and ferocious songs composed by John Murphy consisting of electric guitars and bleak, depressive droning sounds, particularly “In the House, In a Heartbeat” which begins with deadly slow riffs before erupting into a stirring melody.

Although the following trend has been around for a while, it wasn’t until Insidious (2010) that the creepy remix of child-like songs became a popular sensation for horror marketing. Tiny Tim’s cover of the 1929 song “Tiptoe Through the Tulips” features in James Wan’s Insidious as the titular theme, playing during one of the most alarming scenes from the film, showing a mysterious ghost boy dancing to the ominous song before vanishing in thin air. The distorted wave of vocals in an oddly high pitched yet masculine timbre is genuinely haunting, like something that you would hear playing in your worst nightmare. Since social media has become a playground for dance and audio trends to thrive, “Tiptoe Through the Tulips” has seen a ressuragnce in popularity, particularly featuring on abandoned tour videos and paranormal excursion clips. The intense and petrifying song is rather ironically frigthening as it was originally intended to be a family friendly hit with no shadow of darkness intended. However, it just goes to show you that horror cinema really does have a power in deceiving the atmosphere with music alone. 

Disasterpiece may not be a name familiar to the masses, but their scoring for David Robert Mitchell’s It Follows (2014) is a tranxfixing feat pushing the boundaries between screen and viewer. The film takes on a figuratively and literal attachment story where a curse is placed upon victims after acts of intimacy, akin to a ghostly STD. Naturally, the horror of the narrative remains closely fixated to the protagonists, keeping the terror close to home at all times, almost suffocating the audience. To meet the deep personable elements, the scoring too brings a sense of erratic tension to the forefront, where the ticking sounds reminiscent of clock chimes, combined with industrialised synth melodies mimic the overtly present themes of entrapment, doom, and unavoidable mortality. 

It Follows avoids the traditionalised use of common soundscapes in favour of upsetting any sense of familiarity the viewer may have had. In a similar line to this is Jóhann Jóhannsson’s melodramatic score for Mandy (2018), which delivers a feast for the ears with every fibre of its being. The presentation seen in Mandy is on its own enough to be fully controlling and visually arresting; when the elements of music are incorporated, any means of affect are amplified to the extreme, with the tinny, industrial tones working alongside psychedelic chargings to create a phantasmagorical palette for the senses. 


Powerful contemporparty soundtracks do have one goal in common, which is to stay true to classic genre scoring elements whilst employing a new flavour that is foreign to the listener’s personal soundscape. In a way, this consideration has always been the case. Take for example Fabio Frizzi’s work, the Italian composer and frequent collaborator of Lucio Fulci would consistently marry two polar opposite musical genres (band and orchestra) to birth a theme song so enriched in chaos and commotion that its impossible to break away from the horror unfolding on screen. Frizzi’s scoring for City of the Living Dead (1980) and The Beyond (1981) truly immerses cinema as an audiovisual medium, all in an ode to break away from traditionality and opting for refreshingly original scoring. 

Within recent years the use of music within horror has reached a new means where the contextualisation of sound itself is a key plotpoint. This element has always been popular, with films such as The Rocky Horror Picture Show (1975) thriving in the notion of music. Essentially the subject of sound has always been an integral part of horror.

Additions from modern autuers including Gaspar Noé and Edgar Wright have always relied on the impactfullness of scores to survey the depths of terror, with Noé’s dance studio based extravangaza Climax (2018) using hypnotic numbers playing over extensively long movement shots, and Wright’s nostalgic score for Last Night in Soho (2021) enlisting the help of 1950s-1960s hits to convey a twisted narrative rife with equal amounts of terror and sentimentality.


This idea of reusing hit songs in a new light has been repeated throughout cinema for decades, but when it’s done correctly the effect can be significantly influential over a film’s finished result. One horror that utilises this aspect with flawless execution is Jordan Peele’s Us (2019). Us’s composer Michael Abels remixes the 1995 song “I Got 5 on It” (Luniz), quickly becoming the film’s official theme song. Abels flawlessly highlights the hard-hitting beat and rhythmic structure at the film’s most tense moments, including the heavy home invasion scenes, almost using the beat as a siren or pounding drum that emotively and psychically jolts even the most stern-faced of viewers. 

The power of music in horror can be asphyxiating, it can be deliberately troublesome, and it can completely make or break a film. For decades music has been a contraption to manipulate and assemble whatever emotion the film demands.

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Curiosity Corner Reviews

The Power of Music in Horror- Part 1

Cinema challenges…it moves, it motivates, it’s humorous, it’s frightful, but most importantly it challenges. The form of which moving images bond to create a film is one that has been studied for decades, particularly in the bounds of visual vs auditory importance. Whilst imagery is a key basis for the resulting composition, film is in fact a mere spectacle without musical arrangements and instrumental structures. 

Review: F.I.L.M. Series: Psycho (1960), Psycho (1998), and Hitchcock (2012)  | by The Spectator | The Spectator

Announcing the history of sound within horror goes back to silent cinema, the time when seemingly noiseless dynamics were not important in regards to the power of music in contemporary cinema. Although the finished product did not emit sound, there were melodic compositions placed over the film to fill in the silent gaps and assist in creating a sinister ambience. As cinema progressed and creatures from the night made their stage presence clear, gothic arrangements utilising the roaring tones from organ instruments became more noticeable, particularly within the Hammer retellings of the reign of villanery seen from the Universal Monsters. Yet, despite the association that classic monster movies have with horror cinema’s sound legacy, it is arguably Alfred Hitchcock’s Psycho (1960) that fully opened the door for horror to be seen as an audio visual hybrid. 

Psycho (1960) – Mutant Reviewers

Hitchcock’s deceptive feat conquered the audience’s attention like no other film at the time, switching the entire plot up when it had just started getting juicy, resulting in a scene so memorable, so prolific that it will remain in the horror hall of fame for seemingly years to come. The infamous shower scene saw Janet Leigh at her most vulnerable state whilst a crazed maniac attacks her in a frenzied manner. The scene is brimming with quick cuts and various shots (over 60 of them) and is accompanied by Bernard Herrmann’s orchestral piece titled “The Murder”. Hitchcock originally intended Psycho to have a minimal amount of pieces playing, but his mind was changed once he heard Herrmann’s heightened soundtrack, equipped with screeching violas and violins screeching, almost mimicking the sound of a knife being sharpened. 

The Exorcist': Jason Blum Confirms Blumhouse Will Produce New Movie -  Bloody Disgusting

Pyscho’s “The Murder” has become the theme tune for the entire film, with anyone recalling it immediately humming the slashing jabs made by the plethora of insrutments, somewhat becoming just as famous as the film itself. The idea that a film’s music is just as potent as the feature is an aspect that has continued within horror, particularly with William Friedkin’s The Exorcist (1973). 

The Exorcist review – Philip French on William Friedkin's stark, demonic  horror | The Exorcist | The Guardian

As the 1970s kicked in, the horror market was in full swing with the rise of slashers, possession flicks, and exploitation experiments disrupting the flow of family friendly entertainment. And one film that has kept its exceedingly bold reputation throughout history is The Exorcist. Now, to denote such a monumental film’s status on one particular aspect is nonsensical, however, when it comes to this nightmarish religious journey, the score is one of the most vital factors in its ranking. 

The theme consists of a strange remix of Mike Oldfield’s “Tubular Bells”, which begins with high pitched tones followed by a falling low rhythm that goes up and down like a terrifying roller coaster of sound. What makes those ringing bells so touching is the use of asymmetrical sound. Just as Oldfield follows an off-sync beat to replicate a turbulent symphony, John Carpenter also employs this technique in what can be defined as horror’s most instantly recognisable themes. 

Halloween Opening Credits / Original Halloween Theme (1978) (HD) (HQ) -  YouTube

Halloween (1978) has seen a dozen films follow on in the franchise, with all of them having a defining feature whether that be halloween masks, the classic Michael Myers boiler suit, or the various returns of Jamie Lee Curtis. However, Carpenter’s alarmingly haunting score takes the number one spot! The electrical ring that bounces in and out of pitch never meets a resolution, instead a disjointed movement is created, ensuring that a sense of peace is never once felt. Carpenter could have thrown in all the bells and whistles to heighten the score, but instead opted for a simple method that delivers just as much of a startling punch as any grand orchestra. 

How John Carpenter made (and remade) his game-changing Halloween score |  Dazed

The 1970s was possibly one of the most experimental times for horror as no particular boundaries were set when it came to creative freedom. Horror filmmakers such as Tobe Hooper, David Lynch, and Wes Craven just went for it, creating an ethos reliant upon what they want to make, not what they “should” make. Aligning with that view are the soundtracks seen within films such as Jaws (1975) and Suspiria (1977), who respectively put horror movie music on the map. Jaws’s award winning score gets right under the skin, making the listener feel as if the flesh-hungry shark is genuinely after you, with the heartbeat-like rhythm intensifying the closer the beast gets to its prey and the high register melody being almost alien to the ear. 

Jaws (1975) - Classic Movies

In a similar line to the unfamiliarity heard within Jaws soundscape is Goblin’s soundtrack for Dario Argento’s Suspiria. The loose giallo flick is instantly remembered by many thanks to the haunting whispers and witchy curses heard within Goblin’s pieces. The progresive Italian rock band comprises deep baselines and continuous synth notes to not just build up intensity, but to also keep that tension going for long after watching. The film constantly messes with reality, blurring surreal barriers with the film’s actual events, forming an elixir pot for chaos to ensue. Goblin’s continuous hazing of rhythm purposely distracts and contorts the situations even further, aptly aiding in the unearthly route that Suspiria takes. 

Brief Examination: Suspiria (1977) | SGS On Film

This next film holds the title for being one of the most mainstream controversial horrors to date, with Cannibal Holocaust’s (1980) hidious excursions and unspeakable exploits still accompanying the film to this date. It would be easy to believe that the film’s composer Riz Ortolani would conjure a soundtrack filled with violently smashed together tones to even further disrupt the viewer, instead Ortolani created the most surprisingly dulcet soundtrack to have ever come from a disturbing horror. The melodies are gentle, almost akin to a lullaby, lulling the viewer into a false sense of security and distorting the overall narrative to be somewhat surreal.

Snuff: The Biggest Myth In Film - Fangoria

Cannibal Holocaust’s airy juxtaposition is not the only horror to feature an overtly drastic difference between visual and audio, with American Werewolf in London (1981) being jampacked with carefully selected tunes to set the scene. John Landis’s upbeat soundtrack had no qualms in apperaning too on-the-nose, with songs such as “Blue Moon” (Bobby Vinton) and “Bad Moon Rising” (Creedence Clearwater Revival) playing over the werewolf transformation scenes, nicely pairing the cheery songs with the mabare body horror escapades being graphically presented on screen. 

An American Werewolf in London' and Its Iconic Transformation [It Came From  the '80s] - Bloody Disgusting

As time progressed so did movie music. The 1980s still dominates pop culture to this day; the soundtrack for the decade bounced between melodic ballads and free-spirited pop to punk inspired shredding and metal mania tracks. As film largely takes shape based on the environment surrounding it, it’s safe to say that 1980s horror was brimming with some of the most creative scoring ever seen, with The Lost Boys (1987) being true to this theory in every way possible. 

Film - The Lost Boys - Into Film

The Californian vampiric beachside setting of Santa Carla sets up the perfect playground for composer Thomas Newman and director Joel Schumacher to take the viewer through a creepy carnival of 80s hit songs paired against dark and stirring arrangements. The film has become synonymous with Echo & the Bunneymen’s cover of The Doors “People are Strange”, INXS and Jimmy Barnes chart topping “Good Times”, and the film’s main theme original song “Cry Little Sister” that goes above and beyond in emulating the The Lost Boys moody, leather clad aura. Not to forget to mention the absolute iconic cover of “I Still Believe” (The Call) performed by Tim Cappello, or the shirtless saxophone playing bodybuilder as many may know him. 

The Lost Boys' Saxophone Man Tim Cappello on The CW series | SYFY WIRE

Another section of movies that saw an influx of interest thanks to music is comedy horror, particularly those who unlike Cannibal Holocaust stayed on the lighter side. Ghostbusters (1984) may not appear on every ‘horror movie list’ as technically the supernatural ventures won’t necessarily send shivers down your spine, yet, there’s just something so classic and synonymous with the Ghostbusters theme song and halloween culture that it’s impossible to not alert the film’s significance.

30 things you (probably) didn't know about Ghostbusters

Appropriately named “Ghostbusters” is Ray Parker Jr’s. smash hit that was even nominated for an Academy Award (57th) for Best Original Song, where the catchy chorus will have even the most stern audiences singing along. On a similar note is Beetlejuice’s (1988) use of Henry Belafonte’s “Day-O” in which an elegant dinner party is ruined by the guests uncontrollably singing Belafonte’s hit in a bizarre and ultimately hilarious fashion. 

Twisted Music Video of the Week Vol. 208: Beetlejuice "Day-Oh" - Bloody  Disgusting

Over time the use of music in cinema has metamorphosed to suit the times, whether that be the inclusion of classic songs from the thirty years prior to highlight a character’s personality, or even the addition of newer musical genres to spice up the screen. However, one thing has not changed at all, and that is the integral importance and power that music holds over cinema.

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Troma – Over 45 years of independent cinema

Conducting strange experiments that fuse together sci-fi and horror with a dash of absurd comedy is Troma Entertainment’s specialty. Troma is a production and distribution company that literally gives you as much bang for your buck as possible thanks to their sporadically glorious films that truly stand out amongst the rest. 

Lloyd Kaufman Quotes. QuotesGram

During his time at Yale University, Lloyd Kaufman first dipped into the world of film when he produced his friend Robert Edelstein’s micro budget feature Rappaccini before going onto direct his first film titled The Girl Who Returned (1969), a black and white exploratory feature. Kaufman’s debut toured the film societies across the likes of Harvard, Yale, and a variety of other universities on the east coast, sparking a keen passion for cinema deep within Kaufman. During his postgraduate years, Kaufman would begin to work for Canon Films, a production company who would later produce hits such as The Hills Have Eyes Part II (1985) and The Texas Chainsaw Massacre 2 (1986). Here, Kaufman would meet John G. Avildsen (Rocky (1976) The Karate Kid (1984)) leading to their collaboration on the 1970 thriller Joe, which would be nominated for Best Original Screenplay at the Academy Awards. 

Fan Cam Commentary on Twitter: "Check out this rare clip from the old days  of Cinemax featuring a visit to Troma Studios and interview with  @lloydkaufman and Michael Herz https://t.co/hW6QocqkNs  https://t.co/8C0DAX87OY" /

A short while after his introduction to film, Kaufman would direct his second feature Battle of Love’s Return (1971), receiving high praise across the board. Whilst Kaufman was setting up a budding future as a filmographer, fellow Yale student Michael Herz would begin to feel his own interest in movies emerging. Although Herz pursued a career in Law, the connection between the two sparked a growing urge to turn their passion into a much bigger venture. Leading them to work together on Sugar Cookies (1973) where Kaufman would co-write and produce, with Herz also serving on the production crew. 

This collaboration was certainly a success, but no one could have known that this pairing would lead to one of America’s most notorious independent production and distribution companies. 

The Toxic Avenger | VHSCollector.com

Troma’s baby steps on their journey to triumph started off with producing racy comedies including Squeeze Play! (1979), Waitress! (1981), Stuck on You! (1982), and The First Turn-On! (1983), all of which cemented their still solidified b-movie reputation. As the years progressed so did Troma’s manifesto. To nobody’s surprise the 1980s and horror have a convoluted, but loving connection with one another, thanks to the rise in censorship, home video, and cult cinema. More importantly, the 1980s saw Troma Entertainment reach new bounds with The Toxic Avenger (1984). The film pushed Troma into the forefront with its camp tone, quick witted humour, gross-out gore, and cartoonish horror vibes that were unlike anything else at the time. From this moment on, Troma navigated away from the raunchy specials and led the way for b-movie horror to excel and become a fully fledged subgenre in its own right.

Overtime, The Toxic Avenger has spun an entire mixed media franchise including video games, multiple sequels, a stage production that premiered on Broadway as well as theatres across the globe, various action figures and merchandise, a TV series, and most recently a brand new adaption coming some time next year starring Peter Dinklage, Jacob Tremblay, Kevin Bacon, Elijah Wood, Taylour Paige, and Julia Davis. 

Troma's Lloyd Kaufman Updates Toxic Avenger Reboot Progress | Den of Geek

With The Toxic Avenger under their belt, Troma was set! But, their 1984 smash hit was just the beginning in a long line of farce splatterfests. With The Toxic Avenger still fresh on the scene, Troma used the lingering spotlight to crack on with a string of similarly wacky sci-fi’s with Class of Nuke ‘Em High (1986) being their next feature to reach great heights. This time round the film was centred around the students of Tromaville High after their water supply is infected with toxic waste, causing them to mutate into freakish humanoids.

Class of Nuke 'Em High (1986) - IMDb

Within the next couple of years Troma released a string of other films including the obscure Surf Nazis Must Die (1997), Troma’s War (1988), Rabid Grannies (1988), and Chopper Chicks in Zombietown (1989). From the titles alone, it’s clear to see that Troma had nudged themselves nicely in a niche market of cinema that may get critically blasted as being ‘trash’, but is undeniably entertaining, devilishly memorable, and a barrel of laughs. With this impossible to categorise cinema comes a level of cult-style appreciation that may not appeal to the masses, but rather those with a taste for defiant works of colloquially misunderstood art. 

Tromeo & Juliet [Blu-ray] [1996] [US Import]: Amazon.co.uk: Lemmy: DVD &  Blu-ray

As time moved on so did Troma, and with this came a quiet period for Troma’s production, but all of this changed with the release of the fan favourite Tromeo and Juliet (1975), which unsurprisingly is a very unleashed retelling of the Shakespeare tragedy that thrives less on the endearing battle of romance, hardship, and family values, and more on the ‘love’ side of the story, as well as causal doses of dismemberment, decapitation, and mutilation for good measure. And just like that, Troma was back with a vengeance. Even major media outlets notoriously difficult to please such as The New York Times and Variety saw the magic that Troma cinema withholds, granting the film with pleasant reviews and a burgeoning reputation. To make matters even more gratuitous, Tromeo and Juliet was screened at the prestigious Cannes Film Festival, the Mar del Plata Film Festival (where it won an award for best film of 1997), and the Fantasporto festival. As the 2000s hit, Troma released another string of outrageous and courageous films including the ever so graciously named Poultrygeist: Night of the Chicken Dead (2006) that followed a batch of zombie chickens unleashing a wrath of hell. 

Review: Poultrygeist: Night of the Chicken Dead - Slant Magazine

Within the last couple of years, Troma has seen a resurgence in popularity with the remake influx booming a new generation’s interest into cinema’s most unconventional production company. Going back in time to 1980, Lloyd Kaufman’s brother Charles directed and co-wrote Mother’s Day, with Lloyd producing. Although during its initial release, the film was banned by the BBFC in the UK as part of the video nasty crusade, a remake was ordered in 2010 starring Rebecca De Mornay, Jaime King, Briana Evigan, Deborah Ann Wolf, Shawn Ashmore, and the Kaufman brothers who made a cameo in homage to the source material. The remake performed well upon its release, even slotting itself in the UK’s top ten box office chart. 

Mother's Day (2010) - IMDb

In Troma’s indisputable distinct style, they launched the TromaDance Film Festival that has very, very strict rules- there must be no V.I.P’s (everyone is treated equal), there is no entry cost, nor is there an admission fee; it’s all about the celebration of filmmaking. The event originally coincided with the esteemed Sundance Festival to even further boast their unique braveness of shedding away from the mainstream time and time again. The festival is open for submissions around the world, with the most creditable entries being released on DVD by Troma. Alongside the event, Kaufman offers workshop-esque lessons to budding filmmakers, providing teaching classes and cameos for those interested in pursuing the dark art of indie cinema. 

Best of Tromadance Film Festival: Volume 1 (2002) - MCU Prime

Troma has become so infiltrated in all things cinema that many do not realise how influential the company really is, or how much of a significant part they play in kick-starting fan favourite performer’s and director’s careers. Many of their releases aided in the journey for stars such as Samuel L. Jackson in Def By Temptation (1990), James Gunn (Tromeo and Juliet), Marisa Tomei (The Toxic Avenger), and South Park (1997-) creators Trey Parker and Matt Stone via Cannibal! The Musical (1993). 

Lloyd Kaufman Interview | Classic-Horror.com

As it stands Troma still thrives in the home video market, encouraging the in-person viewing experience of picking up a tape or a DVD from time to time. But, for the ‘tech-heads’, Troma has a streaming site service titled Troma Now that provides keen movie-goers with many of the greats from their company. To this day, Troma’s influence can be felt amongst the likes of current parody-based theatrics such as the Sharknado and Birdemic franchises that use immensely surreal visuals edging on the comedic side with entirely implausible narratives that will have even the most wondrously minded of viewer’s bewildered.

Shakespeare's Sh*tstorm (2020) - IMDb

Even though it has been decades since their first feature, Troma shows no signs of stopping their madness just yet, with their latest feature Shakespeare’s Shitstorm (2020), a hilariously crude parody of Shakespeare’s The Tempest currently making the round at film festivals and conventions. Their ability to still churn out hit after hit just goes to show that Troma is still relishing in its ability to traumatise its viewers, ensuring a memorable experience with every filthy film watched. 

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