When the rapidly successful In Search of Darkness (David A. Weiner, 2019) hit screens audiences were gripped by its engrossing take on eighties horror and critics were enthralled by the absorbing and ambitious love letter to what is possibly one of the greatest decades in horror. Thus, it’s no surprise that In Search of Darkness: Part II burst onto the scene with deserved appraisal.
Purchase of part II included 3 posters of original artwork, copy of part I and retro pin badge.
After how much content was covered the first four and half hour entry, it bears the worry that Part II would just be a replica and repetitive. However, what we get instead is a more unique and refreshing film that delves into a variety of horror sub topics and a delightfully varied array of films that combined both well-known classics and some more obscure gems that thrived in the 1980s. The film relies heavily on reminiscence and a nostalgic sensibility, yet there is no bounding exclusivity that confines new spectators to the decade; in fact the film is almost an educative bible for those new to horror, acting as a vivacious horror encyclopaedia.
Gerreta Geretta in 80’s cult hit Demons
The four hour long runtime can be intimidating even for seasoned cinema fans, but the film uses cleverly placed sections to not only aid an easy digest for such a long runtime, but to also add depth to the surrounding contexts. As each year is discussed an additional associated topic is presented, with some of the highlighted subjects including the ever present ‘Cinema Horror Italiano- Giallo‘ and the ‘80s Italian Invasion’. Here, we are given a detailed depiction as to why Giallo cinema lingered throughout the decade and how the three maestros ‘Lucio Fulci, Dario Argento and Lamberto Bava’ ruled in power, with their graphically horrifying and pathbreaking filmmaking taking centre stage in their filmography.
Part II takes what worked well in its predecessor and accelerated it; the remarkable line-up consists of some of the biggest contributors within horror, including Tom Atkins, Linnea Quigley, Caroline Williams, John Carpenter, Tom Savini, Joe Dante, Robert Englund, and Cassandra Peterson. This comprehensive cast list had heaps of involvement within eighties horror, introducing a sense of richness to the production, with plenty of behind the scenes knowledge bringing new light to the classics.
Speaking of classics, Part II divulges into a medley of films ranging from slashers to harrowing revenge tales. Rather than solely discussing the big mainstream hits of the decade, we are shown the somewhat forgotten hits such as Alone in the Dark (Jack Sholder, 1982), April Fool’s Day (Fred Walton, 1986), Mother’s Day (Charles Kaufman, 1980), Vamp (Richard Wenk, 1986), and House (Steve Miner, 1985). To accompany each film is an enlightening insight into the cultural context that most of these films were released in.
One particular area that is deeply discussed in relation to Hollywood Chainsaw Hookers (Fred Olen Ray, 1988) is the video nasties. As home video soared so did the number of so-called ‘exploitative’ horror films on the market. Unfortunately, due to a mass moral panic over the British public’s wellbeing, 72 films were banned in the UK over fears of them corrupting children’s minds. Part II divulges into this important era for horror through discussing both the absurdity of the nasties and which films were the most prominent.
The film is clearly a demonstration of dedication to a beloved genre. From the outset a sense of togetherness is displayed, that depicts horror as a one-of-a-kind genre that manifests devoted fan bases and remarkable characters that linger within pop culture. Whether or not you are a diehard eighties fan or a newcomer, In Search of Darkness: Part II has something for everyone.
If you want to be part of the ISOD community check out their YouTube, where they are delivering regular interviews with 80’s legends for their new CLIPSHOW.
We interviewed creator Robin Block and director David A. Weiner back in October 2020, in an exclusive interview for the festival where we played Part I to celebrate the release of Part II.
2020 was a rough year to say the least, whist we saw a brilliant emergence of indie cinema taking centre stage, big budget horror was burdened with delays, reshoots and rescheduled release dates.
Dead Northern brings you a list of 2021 releases to look forward to, here’s hoping for a time not too far away where we can see some great new horror on the big screen!
Last Night in Soho
Edgar Wright is known for his quick witted, dark humour often seen in his beloved smash hits, including Hot Fuzz (2007) and The World’s End (2013), but it seems that his most well known and respected film amongst horror fans is the boundlessly successful Shaun of the Dead (2004). And it seems that Wright has decided to brave the horror genre yet again in his upcoming film, Last Night in Soho.
However, this soon to be success does not tap into comedy to deliver its scares, instead Wright has opted for a more daring psychological horror narrative. Little has been released about the plot, but what we do know is that we follow a young woman who is enthralled by the fashion industry, but when her mysterious journey takes her back in time to 1960sLondon she discovers that everything is not as it seems. Last Night in Soho has an impressive cast lineup as both Anna Taylor-Joy (The VVitch) and Matt Smith (Doctor Who), alongside Thomasin Harcourt McKenzie (Leave No Trace) star in this upcoming dramatic tale ridden with deception and enigmas.
Release date: 23rd April 2021
Spiral
In 2004 Leigh Whannell and James Wan released the sleeper hit Saw, which soon shook the genre and has since amassed an entire iconic franchise. And 2021 delivers us the ninth instalment in this ever growing series. Similar to its predecessor ‘Jigsaw’ (The Spierig Brothers, 2017) the film will alter its direction to focus upon the police investigation into the excessive, twisted games that Saw is known for. Comedy icon Chris Rock takes the lead role as detective Zeke Banks, with Samuel L. Jackson starring as a respected police veteran. But, no need to panic, this is not a tepid crime mystery. The teaser trailer promises that Jigsaw’s maniacal games will yet again grace our screens. Spiral hints that it will resurrect the charm of the beginning of the series, with the director of Saw 2,3, and 4 Darren Lynn Bousman returning as Spiral’s director.
Release date: 21st May 2021
The Conjuring: The Devil Made Me Do It
When The Conjuring (James Wan, 2013) was released it took the genre by storm, with an entire cinematic universe forming. Therefore, it’s to no surprise that this smash hit of a series was continued, with The Conjuring: The Devil Made Me Do It making its mark as the eighth instalment in the constantly expanding series. The film narrows in on the classic demonic possession trope to elaborate on the real life harrowing trial of Arne Cheyenne Johnson, who was charged for murder. However, according to Johnson, it was the devil who made him do it. This film is set to be a fresh take on the typical haunted storyline that the cinematic universe follows. Both Patrick Wilson and Vera Farmiga return as the paranormal investigating duo ‘The Warrens’.
Release date: 4th June 2021
Candyman
It’s safe to say that Jordan Peele has become a modern horror legend, with both Get Out (2017) and Us (2019) becoming solid favourites amongst both critics and audiences. Peele only furthers this legacy with his latest partnered venture, a sequel to the 1992 classic Candyman (Bernard Rose). To bring such an iconic story back to the big screen requires a fresh look at what made the original so terrifying, and it seems that Peele has found this within Nia DaCosta, who not only directs the film, but also co-wrote it alongside Peele. The trailer promises a macabre, tense and overall chilling reprisal of the Candyman legend. But, what horror aficionados will be looking forward to most is that Tony Todd will be back as the dreaded Candyman.
Release date: 27th August 2021
Don’t Breathe 2
The long awaited sequel to Fede Alvarez’s 2016 horror hit will finally be released this year, with its production being in talks for years. The same tense atmosphere will yet again be captured as Stephen Lang reprises his role as the intriguing Norman Nordstrom, who has become somewhat of an anti-hero since the films release, with audiences taking a liking to his dark and twisted character. Instead of the reverse home invasion route that the first film took, director Rodo Sayagues (who co-wrote Don’t Breathe) focuses upon Nordstrom’s journey into solitude; he has since rescued a young orphan and taken her under his wing. However, their isolated lifestyle in a secluded cabin is soon disrupted when a group of merciless criminals kidnap Nordstroms only companion.
Release date: 13th August 2021
Halloween Kills
Michael Myers has once again proven his immortality as he strikes Haddonfield once again. The film will pick right up where Halloween (2018) left off, with Laurie (Jamie Lee Curtis), Karen (Judy Greer), and Allyson (Andi Matichak) teaming up as a triple threat against The Shape to finally end the chaos. Halloween Kills will see an exciting revival of characters as both Tommy Doyle (Anthony Michael Hall) and Lindsey Wallace (Kyle Richards) return as disgruntled adults traumatised from their childhood experiences of Myers wrath. Quite interestingly Halloween Kills is not a solo story, instead we will see a focus on Haddonfield’s collective trauma and anger over the community’s dismantlement that Myers has so wilfully caused.
Release date: 15th October 2021
There’s Someone Inside Your House
Just the title alone is enough to bring audiences back to the ever nostalgic teen horrors that made its mark within the late 1990s. There’s Someone Inside Your House is a promising upcoming slasher horror directed by Patrick Brice. Brice’s natural talent for creating an incredibly chilling atmosphere was showcased in Creep (2014), and although both films are on opposite ends of the genre, it’s clear that this sense of eerie mysteriousness will definitely melt into There’s Someone Inside Your House. This film is an adaption of Stephanie Perkins 2017 book of the same title; throughout the story we follow Makani (Sydney Park), a transfer student from Hawaii who is at the centre of a series of ghastly murders.
Release date: February 2021
Run Sweetheart Run
Run Sweetheart Run is based upon a horrendous true story from the director Shana Feste. The film tells the harrowing tale of Cherie (Ella Balinska), a single mother who decides to finally tiptoe back into the dating scene. However, after her boss sets her up on the blind datefrom hell, she has to fight for her life in an after hours L.A. where she cannot trust anyone. The powerful undertones of danger within urban dating for women alludes an unfortunately realistic situation. Early reviews from festival runs hint at Feste’s superb spin on cliched genre tropes, which is only further highlighted by the bold and bloody narrative that is not afraid to imitate thousands of survivors’ stories of trust and betrayal.
Release date: TBC
Terrifier 2
Clowns and horror go hand in hand, and no clown is more sinister and utterly sadistic than Art the clown. Art’s first appearance originated from Damien Leone’s short films The 9th Circle (2008) and Terrifier (2011). And since then he has featured in four feature films, with the latest being Terrifier 2. The upcoming independent film was primarily funded by an extremely successful Indiegogo campaign, which was aimed to fund impressive effects that Leone has planned. With the success of the campaign and the constant pushing back of release dates fans have never been more excited to see Art do what he does best- completely annihilate. Little has been released about the plot, but the teaser trailer promises an absolute bloodbath.
Release date: TBC
Antlers
Antlers is a supernatural horror produced by Guillermo Del Toro and directed by Scott Cooper. The film is adapted from writer Nick Antosca’s acclaimed short story ‘The Quiet Boy’. We follow Lucas Weaver (Jeremy T. Thomas), a young school boy whose strange behaviour is soon noticed by his teacher Julia Meadows (Keri Russell), who alongside her brother Paul, the local sheriff (Jesse Plemons) attempt to solve the mystery plaguing Lucas. The trailer showcases a dull town, drowning in monotonous habits. That is until strange occurrences start making themselves known.
Release date: 17th April2021
A Quiet Place Part II
A Quiet Place Part II follows on directly where the first film ended. Evelyn (Emily Blunt) and her three children attempt to survive in an almost post-apocalyptic landscape heaving with sound sensitive beasts and ruthless fellow survivors. Despite John Krasinski’s lack of personal appearances in A Quiet Place Part II, he will still be behind the camera as he returns to the directors chair. However, rather than just follow our four main characters in a desolate universe, we will be introduced to Emmett (Cillian Murphy), who is seemingly Evelyn’s only ally left in the entire world.
Release date: April 2021
Wrong Turn: The Foundation
The Wrong Turn series has been making people fearful of going into the woods for years. But, it seems that no one has listened as we are delivered a seventh instalment in the highly gruesome series. Wrong Turn: The Foundation is a rebootof the very first film that started it all, but with a twist. The trailer introduces us to a group of friends as they brave the Appalachian Trail, only for their expedition to be abruptly ruined when a group of murderous individuals known as ‘The Foundation’ brutally threaten their entire existence. What’s quite interesting however is that this latest take on the backwoods trope has an essence of cult horror that promises to showcase The Foundation as a savage community aiming to harm anything that gets in their sense of union.
Release date: 26th January 2021
Red Dot
Red Dot is a Swedish Netflix original that follows a couple as they brave the night camping in a snowy setting in the mountains of North Sweden. However, the cold seems to be the least of their problems as a random, glowing red dot finds itself following their every move. In this tense horror we will see a sense of isolation and anonymity forming together to disrupt any chance of the audience getting comfortable. The mysterious sniper dot acts as the perfect villain, with no chance of them getting caught.
Release date: 11th February 2021
The Banishing
The Banishing is a gripping horror set in a grand country manor. The naturally haunting setting is reminiscent of classic gothic horror, laden with sweeping foyers and old time’ ghouls. The film follows Marianne (Jessica Brown Findlay), who moves into an ominously dark estate with her husband and young daughter in the 1930s. Director Christopher Smith is no stranger to horror, with him directing both Severance (2006) and Triangle (2009), and his latest venture is sure to be just as much of a smash hit, with boastful reviews flooding in from last year’s festivals.
Release date: 8th April 2021
The Manor
Horror writer and director Axelle Carolyn brings us The Manor, an eerie supernatural horror following a woman who has been reluctantly moved into a nursing home after suffering a stroke. However, her journey to recovery is cut abruptly short when she convinces herself that a strong paranormal force is preying upon her fellow residents. This film is a part of the Welcome to Blumhouse series released exclusively on Amazon Prime Video and will be released at some point later this year.
Release date: TBC
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
The 1970s were a turning point for horror cinema, with its stylised richness protruding as a primary ground layer for the progression of the genre. Although not as bloodstained as the following decade, the films did ambitiously introduce audiences to a more gruesome and barbaric taste for cinema. It’s this slow burning horror that craftly handled savage imagery alongside sophisticated haunting visuals to create exciting films whose reputation has lingered long within the horror genre.
However, the 1970s were a time of classics that have almost stolen the spotlight off of many underrated films that deserve just as much recognition.
Instead of focusing on the immensely successful Halloween (John Carpenter, 1978), The Exorcist (Willam Friedkin, 1973) and Alien (Ridley Scott, 1979) this list will cover the forgotten wonders of such an influential decade.
1. The Blood on Satan’s Claw (Piers Haggard, 1971)
In rural 17th England a small village’s harmonious layout is disrupted when local farm landsman Ralph (Barry Andrews) unearths a decayed unidentified skull within the land. The discovery summons evil to the area, with the youth of the village soon inhabiting the role of devil worshippers to raise hell on earth.
This film belongs to the unholy trinity of folk horror, with the other two films being Witchfinder General (Michael Reeves, 1968) and The Wicker Man (Robin Hardy, 1973). Throughout The Blood on Satan’s Claw Haggard attempts to mimic the liberal attitudes from communities of the late 1960s through the metaphorical demonisation of such attitudes. The ‘hippie brigade’ from the prior decade became somewhat of a moral panic, but in reality freedom was their primary motive. And quite literally this film uses the devil worshipping children as the antagonists to mock the rather absurd reserved opinions of the time.
Its not just the critical commentary that makes this film rather significant to seventies horror, its also the haunting use of folk elements to illustrate the horror. There is an essence about rurality that fashions the countryside as being dark and tempting, the rooted soil comes across as mysterious, with the forest being witness to all kinds of satanic rituals over time. The Blood on Satan’s Claw rejuvenates fables as a horrific curse set upon any form of society who is brave enough to set foot on its historical land.
2. Let’s Scare Jessica to Death (John Hancock, 1971)
The film follows Jessica (Zohra Lampert) who has been recently released from a psychiatric institution. To get a fresh start Jessica alongside her husband and a friend move to a secluded farmhouse. After finding the beautiful Emily (Mariclare Costello) already occupying the house Jessica sympathises and invites her in. But, of course it’s not long until the new beginning loses its balance as strange occurrences begin to stir. Let’s Scare Jessica to Death premise is simple at its roots, but the horror that ensues is far from ordinary.
The film builds its tense infrastructure upon the questioning of whether the horrific events are just psychological delusions of Jessica’s, or are they actually threateningly real. Hancock achieves a multi-layered fright fest through the elaborate combinations of evoking visuals as well as a gradual untrusting story path.
The audience question the direction of the film, is Emily’s presence truly evil or is she an innocent young woman being persecuted for unsettling legends. All of this is executed through such a poetic form that gently presents a foreboding horror that seems to leap into true terror out of nowhere shocking audiences and leaving its mark.
3. Don’t Torture a Duckling (Lucio Fulci, 1972)
Don’t Torture a Duckling is a classic Giallo film that follows the sleepy and mystifying town of Accendura in Italy whose occupants have been plagued by a series of child murders. Giallo cinema is richly dense in stunning sights and graphic imagery showcasing alluring women with a wash of vulgarity and voyeurism. Fulci takes these aspects and runs with it, not only does the film showcase these elements, but it also combines a typically unpalatable narrative to create a unique film that excels both visually and narratively. The murder mystery element is not lost amongst the horror as the whodunit aspect remains strong throughout. This rare element of excelling in every aspect is one that Fulci seems to achieve so flawlessly.
Somehow he weeds through the juxtaposed subjective themes of secretive perversion amongst a backdrop of glowing rural Italy with ease. The Giallo movement erupted in the 1970s thanks to Fulci, Argento and Bava. With the archetypal eye trauma, gore and noir-esque quality becoming rites of passage in each film. Yet, Don’t Torture a Duckling drew away from these moulds through the heavy focus of psychological terror of child innocence being corrupted.
4. Sisters (Brian De Palma, 1972)
Legendary director Brian De Palma brings us Sisters, a dark horrific thriller that follows a journalist as attempts to investigate a murder that she witnessed. Sisters is a deeply analytical film that takes clear inspiration from Hitchcock’s auteur framework through the transparent use of voyeurism as a storytelling tool. Despite the clear homage the film is still an elaborate horror within its own right, not only does it feed through a complicated narrative without confusion, De Palma additionally conveys a morbidly lit psychological film that remains incredibly influential.
But one aspect that truly surges the film’s solid reputation as a tour de force within horror is the striking medley of exposition performed through aspects such as split screen, alternating aspect ratio and colour transitioning. This bounds the viewer in a lucid trance whilst watching, all the whilst disrupting any sense of familiarity or ease.
5. Ganja and Hess (Bill Gunn, 1973)
Dr. Hess Green (Duane Jones) is stabbed by an ancient blade that transforms him into a bloodthirsty vampire. Soon after he meets the beautiful young woman Ganja (Marlene Clark), who is yet to know of his dark secret. This film belongs to the extremely underappreciated blaxploitation subgenre of horror. Ganja and Hess is a tale of vampirism through an experimental framework. Unfortunately, the film has been considered dated, with poor cinematography tarnishing its reputation; however to look at it in an alternative light it could be argued that the use of negative space and burnt imagery contributes to the overall feel of the film.
Gunn uses the age old tale of the vampire to portray a love story built upon fractious grounds. It’s this amalgamation of romance and horror that contribute to the surreal avant-garde quality that thrives throughout. This heavily surreal atmosphere makes it a standout film that provides an artistically strong piece of cinema that pushes it ahead of its time. Ganja and Hess certainly stands out due to its arresting tones of addiction and the struggle that inherently accompanies eventual redemption.
6. Eraserhead (David Lynch, 1977)
The film follows Henry Spencer (Jack Nance), a doomed factory worker who lives in an industrialised city. His hapless life soon takes a turn for the worse as he attempts to care for his mutant screaming newborn. Eraserhead defies all expectations as the desolate horrid environment encapsulates the hallmark disastrous aesthetics that Lynch so flawlessly pulls off. The film is an exercise of disturbance through a nightmarish world that disavows comfortability and reassurance.
The distorted reality is placed upon the viewer; not once are we sure of the surroundings, everything is the opposite of home and nothing steers away from the bizarre. In retrospect the film is anything but enjoyable, but due to Lynch’s engagingly ineptness we cannot help but stare at the dystopian story presented to us.
7. House (Nobuhiko Obayashi, 1977)
House follows a group of schoolgirls as they travel to a country home, however it’s soon discovered that the house is haunted. House is a complete fever dream that toys with the viewers perception of reality throughout the entire film. The generic title and concept is not to be underestimated as it gradually becomes one of the most nightmarishly ambitious films of the entire decade. It uses almost every special effect available at the time including animation, backdrop paintings, collage animation and blue screen.
Alongside, the enigmatic visuals are the deeply laden cinematic storytelling methods. Obayashi was contacted by Toho Co. (producers of Godzilla [1954]) to make a film that mimicked the success of Jaws (Steven Spielberg, 1975). And Obayashi did just that; House was a box office success in Japan, but it was gravely crucified by critics. And it seems that these reviews had somewhat plagued its reputation as the film has seen only a cult status keep it alive.
8. Tourist Trap (David Schmoeller, 1979)
Tourist Trap follows a group of friends as they become stranded at an isolated museum filled with creepy mannequins. Their fate soon takes a turn for the worse when the mannequins seemingly come to life… Tourist Trap owes its ferocity to its clear inspirations from classic gothic horror and road trip films.
However, rather than directy take or use these elements to create a typical horror that has been seen countless times before, Schmoeller twists these tropes to create a horrifying slasher hybrid with dark comic factors thrown in for good measure. The horror within Tourist Trap is highly reliant upon atmosphere and tone, and the dingy setting of a secluded museum immediately sets up a haunting vibe that exemplifies terror.
9. Martin (George A. Romero, 1977)
George A. Romero was one of the most influential horror directors, with his foreboding Night of the Living Dead series being the most iconic zombie franchises of all time. But, for a director as prevalent as Romero, Martin receives so little recognition. The film follows Martin (John Amplas), a young man who is convinced that he is an Old World vampire. And as vampires do he ruthlessly engages in the act of blood drinking. As with most of Romero’s filmography there is a fair share of social commentary as well as generous gore.
The film does not fall victim to the highly conventional portrayal of vampires by romanticising them as some sort of medieval lustful soul. Instead Martin is a pure villain, who despite him being the central character is a twisted depressed man who does not think twice about raping one of his victims. What makes Martin a strong contender within 1970s horror is its balance between presenting the mundane and then switching to provoking horrid scenes within the flick of a switch.
10. Mumsy, Nanny, Sonny and Girly (Freddie Francis, 1970)
The film follows Girly (Vanessa Howard) and her brother Sonny (Howard Trevor) as they lure unsuspecting victims back to their house to Mumsy (Ursula Howells) and Nanny (Pat Heywood) to play a twisted game of happy families. Francis based the film upon a play by Maisie Mosco titled ‘Happy Family’, whose influence remains strong throughout the film.
Francis’s vision of Mosco’s work is criminally underrated as it receives little attention despite its fantastically twisted story that is the groundwork for many psychopathic family based horrors. At the time of release Britain was a divided nation between audiences who encouraged liberal cinema and those who fought against such ‘indecency’. And Francis’s film played with this battle with strong themes of incest and suggestive relationships being hinted at throughout.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
Anthology cinema can be described as a linking of shorter separate films via an overall framework. These types of films work in a way that keeps audience’s attention focused and drawn into the appeal of quick multiple stories.
With horror somewhat originating from short folk tales and fables being told by multiple individuals to create one giant mysterious story it is no surprise that the genre commonly works in partnership with an anthology structural composition. In speaking with how anthology horror works on a varietal standpoint rather than a solo platform it can be said that the miscellaneous splintered nature can at times become muddled and non-concurrent. So, to divulge into this stellar sub-genre, here is our list of ten must-see anthology horrors…
1. Dead of Night (1945)
Directors: Alberto Cavalcanti, Basil Dearden, Charles Crichton and Robert Hamer
It has been said that this absolute horror classic is possibly the first anthology horror film. With the Golden Age of Hollywood looming in the background many alternative films were made in counteraction. These films opted for gruesome ghouls and haunting villains, with Dead of Night being one of the classic films from the 1940s. The film follows Walter Craig (Mervyn Johns) as he finds himself in a cryptic house in the English countryside where the guests seem all too familiar to him, despite never having met them.
Dead of Night dips into the originator of horror: dreams. As the film drifts from nightmare to nightmare we witness a series of horrible stories ranging from car accidents to haunted mirrors, but the most iconic and familiar story is the tale directed by Alberto Cavalcanti. The Ventriloquist’s Dummy is the prototype of terrifying dolls and dummy’s that filmmakers would be influenced by for years to come. Nothing lingers longer than that unnerving image of Hugo the dummy (Michael Redgrave) staring straight down the camera lens towards the viewer.
2. Creepshow (1982)
Director: George A. Romero.
In continuing with the cardinals of horror anthologies, we have the legendary George A. Romero attempt at anthologies with Creepshow. What makes this film such a paradigm of the genre is its rich knowledge and treatment of horror; every film is laden with frightening iconography and chilling villains. These aspects are mainly thanks to Romero’s evident homage to classic horror comics from EC of the 1950s including ‘The Vault of horror’ and ‘Tales from the Crypt’.
However, Romero was not alone in creating a horror to remember as the renowned Stephen King was heavily involved in the production as well as being the screenplay writer. Alongside King and Romero was also the godfather of special effects, Tom Savini. Savini was responsible for the extraordinarily comic book-like effects throughout the film. Creepshow speaks for itself, but one segment to definitely keep an eye out for is The Crate.
3. V/H/S (2012)
Directors: Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, and the filmmaking collective Radio Silence.
V/H/S is one of the newer additions on this list, with the film storming onto the scene in 2012 with a generally positive consensus. Alongside this the film has become one of three, with V/H/S/2 (2013) and V/H/S Viral (2014) soon following. The narrative is loosely tied by an overarching story of a group of criminals who break into a house to find a mysterious VHS tape, however upon entering they find a dead man in front of a static TV as well as hundreds of anonymous tapes. The terror truly begins when they start to make their way through the videos with each segment being one of the tapes being played. V/H/S cleverly uses the found footage technique to present each of the 5 segments.
As with all anthologies some segments take the limelight and carry the film, this is the case especially with both Amateur Night (David Bruckner) and The Sick Thing That Happened to Emily When She Was Younger (Joe Swanberg). Amateur Night is the first segment and one of the most memorable. It seems that this success continued as the short was made into a feature film in 2016 called Siren (Gregg Bishop). Although Swanberg’s short has not expanded outside of V/H/S, it is possibly the most terrifying and unique segment out of the series; it was filmed as a desktop horror via a webcam setup that positions the viewer closely with the events.
If the idea of desktop horror interests you, check out our previous article all about this latest sub-genre.
4. Three… Extremes (2004)
Directors: Chan-wook Park, Fruit Chan, Takashi Miike.
Three… Extremes does not shy away from disturbing content, with each segment giving equal treatment to both startling visuals and harrowing narratives. The film does not have little or any entire framework where connections between the three sequences are made, instead the shorts are dedicated to celebrating filmmakers from East Asia, with Miike being from Japan, Chan-Wook being from South Korea, and Chan being from China. What this allows is an amalgamation of different cultures coming together in creating a superbly effective horror.
Three…Extremes is entirely memorable, with Chan’s segment being highly significant and even progressing into a feature film with the same cast and story. Dumplings is in fact the most unsettling of the three. However, to allow for the ultimate payoff, it is best to avoid any prior knowledge. But just know that once you realise what is going on, it is too late to ever forget the lingering realisation that Chan so disturbingly achieves,
5. Ghost Stories (2017)
Directors: Andy Nyman, Jeremy Dyson
Dyson and Nyman are no strangers to British horror as Ghost Stories originated from their incredibly successful stage play, alongside this Dyson is the co-creator and writer of the hilarious yet eerie British television series, The League of Gentlemen. Their collaboration makes for an utterly terrifying watch as they explore the inner workings of psychological trauma through a series of dream-like sequences.
The performances by Martin Freeman, Paul Whitehouse, and Alex Lawther, and of course Nyman himself bring the production to life, with their gripping portrayals of individuals on the edge. The stellar acting brings a level of realistic frantic chaos to the table. As with Three… Extremes the less that is said the better, but one detail that can be assured is the tense atmospheric tone will haunt the viewer long after viewing.
6. Tales from the Crypt (1972)
Director: Freddie Francis
Similar to how Creepshow was based upon horror comics, Tales from the Crypt took inspirations from a variety of EC Comics. The film has become a cult classic, with its reputation experiencing continuous growth, and it is apparent as to why. The devilishly macabre tones combined with the remorseless execution allows for an unsettling envelope of dread to be cast over the film.
Alongside this is the impressive cast line-up including Joan Collins and horror legend Peter Cushing. Instead of Francis relying upon these big names to give the film a long-lasting reputation, the stories were adapted to allow for more than just one-dimensional characters, leading to short, yet detailed studies. Tales from the Crypt achieves a perfectly horrid tension that only brews richer with each segment. As these union of shorts combine at the end, a truly dreadful fate for the characters is finally revealed by the Crypt Keeper himself.
7. Cat’s Eye (1985)
Cat’s Eye is Stephen King’s second entry onto this list, with him being the writer of this underrated 1980s classic. The tales are loosely tied together, with an ominous travelling cat being the glue for the three stories. Each segment almost plays out quite realistic with less flamboyant fables than King’s earlier efforts.
Due to this we experience harsher horror where the premise is rather real and effective in gauging a reaction from the audience. But what shines through the most in Cat’s Eye is the morbidly lit humour that peaks in and out, with King heavily playing on the humorous anecdotes that worked so flawlessly in Creepshow.
8- The ABC’s of Death (2012)
Directors: Nacho Vigalondo, Adrian Garcia Bogliano, Ernesto Diaz Espinoza, Marcel Sarmiento, Angela Bettis, Noboru Iguchi, Andrew Traucki, Thomas Malling, Jorge Michel Grau, Yûdai Yamaguchi, Anders Morgenthaler, Timo Tjahjanto, Ti West, Banjong Pisanthanakun, Hélène Cattet and Bruno Forzani, Simon Rumley, Adam Wingard and Simon Barrett, Srđan Spasojević, Jake West, Lee Hardcastle, Ben Wheatley, Kaare Andrews, Jon Schnepp, Xavier Gens, Jason Eisener, and Yoshihiro Nishimura.
The ABC’s of Death is possibly one of the most unique films on this list as it boasts a total of 28 directors for 26 segments. The premise is simple, each letter of the alphabet is given its own short story, with director Ben Wheatley being assigned the letter U for Unearthed and so and so forth. What this creative concoction results in is a complete barrage of the grisliest tales where a medley of topics and techniques are explored including, Claymation, POV footage, vampires, zombie clowns, body horror and humanoid animals.
The film was released with wide acclaim due to the sheer creativity and atypical composition. This reputation has only continued to grow with two films following the first, both aptly titled ABC’s of Death 2 and ABC’s of Death 2.5. With a variety as wide as The ABC’s of Death there is bound to be something for everyone.
9. Black Sabbath (1963)
Director: Mario Bava
Mario Bava had held his acclaimed reputation as an infamous master of horror, with films such as Blood and Black Lace (1964) and A Bay of Blood (1971) heavily defining his long career. However, a film that has slipped under the radar as time has passed is Black Sabbath. Each of the three segments are all heavily focused on creating a stingingly dark, yet visually pleasing look.
Of course, the film features an array of atmospheres as the characters positions alter within the story. The segment to keep an eye out for the most is the second instalment, The Wurdulak. This section famously features Boris Karloff, who played Universal Pictures original Frankenstein.
10. The Mortuary Collection (2019)
To finish this list is the most recent feature, with it being released only last year. However, within its short time of being released it has soared in popularity with its premiere at the 2019 Fantastic Fest receiving rave reviews. The Mortuary Collection’s overarching framework is substantially present throughout, with each segment tying into the riveting ending.
The film works by interweaving a mix of classic and lesser known urban legends to tell its story. But what truly allows the film to stand out is its vintage overtone that runs throughout, with the main story being acted out in a burgundy and mahogany toned mortuary that emulates a classic haunted vibe straight out of the manors held famous in classic horrors.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
The Texas Chainsaw Massacre Video Game Title Screen
The Texas Chainsaw Massacre was one of the first horror genre video games and one of the first video games to be based on a movie license. Released on the Atari 2600 back in 1983 it was developed by VSS, Inc, Published by Wizard Video Games, with lead design by Ed Salvo (who also worked on the Halloween video game in the same year).
The Texas Chainsaw Massacre Video Game puts the player in control of the movie’s antagonist Leatherface, then sets them on a murderous rampage across Texas. As video games go the objective is pretty much a standard affair, kill everything, in this case, teenage Texans.
Now we’re not sure if this is canon but in the video game, Leatherface and his trusty chainsaw are conjoined into some sort of hellish cyborg which is fuelled by the blood of teenagers, should the chainsaw run out of fuel they both die. This does add a bit of logic to why he’s such a murderous bastard but still doesn’t explain the creepy mask. If I needed the blood of teenagers to stay alive I’d probably try and lure them in rather than scare them off by wearing some nightmare fuel outfit. Perhaps use a mockup of an off-license with a bench outside, then get them when the tallest one asks “Oi mate, can you get us some cigs?” FYI it takes the blood of 5 Texan teenagers to refuel a chainsaw, B&Q don’t stock it (I did ask) and I’d hazard a guess neither do hardware stores in the USA hence the murder spree.
Given that the game was released in 1983 and even then the Atari 2600 was hardly a graphical powerhouse, the visual representation of the sparse Texan landscape is pretty accurate, it’s flat, littered with trees and fences with the odd cow skull laying around. The same can’t be said for the chainsaw-wielding Leatherface sprite which looks like a pumpkin wielding an industrial size rampant rabbit, the sound is similar too (so I hear). The rest of the sprites are serviceable given the era and technological limitations. For a video game based on such a violent movie, there’s a distinct lack of blood and given the controversy of the game at the time is a strange omission.
Another take from the video game, and again I’m not sure this is canon but Leatherface can be stopped by wheelchairs, fences, tumbleweed and the cow skulls you’ll find littering the Texan terrain. So if you do find yourself being pursued by the mask wielding maniac try any of the above for better chance of escape. That said, given that this information may not be canon don’t blame us if you end up as the cheek on an elaborate Halloween costume.
Here’s the real kicker. My first search result to buy the game was for just the manual and that was $65.00! Other sites are showing that you can get a physical copy for somewhere between $114.00 and $420.00. Unless you’re a huge fan of the franchise and a completionist when it comes to merch I’d recommend watching a few minutes of the game on Youtube, then watching it again on x2 speed to get the whole experience. If you really do need to get a Leatherface kick from a video game you can find the character as DLC in Mortal Kombat X and Dead by Daylight.
The arbitrary Dead Northern score for The Texas Chainsaw Massacre the game, One Lone Star.
Grace from Film Overload takes a look at our Saturday evening feature screening of VIDEODROME. Watch this genre defining horror/sci-fi classic at this years festival on 31 October 2020 at 19.00pm. (some spoilers ahead!)
‘Cronenberg’s artistic vision of visceral sensuality, body horror and alluring conspiracies – brings a genre defining classic’
David Cronenberg’s legacy as a genre defining director began when his incredibly influential film Videodrome was released in 1983. Cinema of the 1980s still remains iconic to this day, with Videodrome solidifying its status due to Cronenberg’s artistic vision of visceral sensuality, body horror and alluring conspiracies.
We follow the sordid channel operator Max Renn (James Woods) who specialises in the adult entertainment industry. With audience expectations becoming harder to meet, he searches for something never seen before. Fortunately he stumbles across a seedy show broadcasting extreme torture and violence. However, his new-found show ‘Videodrome’ brings about horrid consequences.
The film also features Debbie Harry, or as some may know her, Blondie. Harry plays the masochistic Nikki Brand who sensationally thrusts Renn’s life into a chaotic oblivion. As with most of Cronenberg’s work Videodrome is not shy to venture into eccentric and surreal topics. The film works as a metaphorical standpoint, alongside the utilisation of horror iconography to create a transcendent experience.
From Cronenberg’s visual perspective we are manically treated to a spontaneous eruption of visceral images exhibiting fleshy horror. As aforementioned body horror is a keen contributor to the film, with blood, guts and gore heavily making an appearance. But it’s the treatment of the body within the film that fashions such a complex visual composition; the themes of violence that come from the channel Videodrome are not afraid to cross the line, with one particular scene exhibiting a human torso being ripped open, graphically exposing each vein and tendon.
Despite the brutal exposure of torture and violence, the film is yet to fall into the satirical gory horror of the eighties. Instead, the act of violence is a simulation to further the film’s powerful allegorical notion.
The film plays its message out via a morbid and torturous atmosphere that has no fear in pushing audiences limitations. At the time television was seen by many as the enemy, the ruthless manipulator causing havoc amongst the young. With the early eighties seemingly dooming the horror market by the video nasty scandal and an influx of graphic and violent horrors being imported across the world, it’s no surprise that the media spread fear. Although from today’s perspective the idea of TV haunting viewers is radically nonsensical, it was once a real ‘emergency’.
Cronenberg utilises and exploits this fear through directly mocking people’s responses to the media. Within Videodrome, this channel that Renn stumbles upon is powerful enough to cause hallucinations and psychically harm. The show is a weapon that can literally cause mass tumours, with the intention that anyone who would want to consume the snuff-like material coming from the channel deserves a fatal end.
Videodrome is a testing film, the characters are not necessarily likeable and the entire play-through is gloomy. Yet, it’s an unforgettable experience that uses its speculative nature and bitter eccentricity to coerce and distort the viewers expectations, making it a must see for all horror fans.
Grace from Film Overload takes a look at our Saturday local feature screening of CHESTERSBERG, made right here in Yorkshire. Watch this horror comedy gem at this years festival on 31 October 2020 at 17.00pm. (some spoilers ahead!)
‘Hilariously gruesome mockumentary with one of the most unique plots to come out of this year’
Bearing tonal resemblance to Edgar Wright’s Hot Fuzz (2007) and the bloodiness of gory slasher flicks, comes a brilliant tale from Jamie McKellar. We are introduced to the enigmatic Chester Mapleforth (Andy Love), who after procuring a hefty fortune forms the village Chestersberg. But the quaint Yorkshire cul-de-sac holds something quite dark within its territory; murder is entirely justified and legal within the lands’ threshold.
McKellar brings us a hilarious but gruesome mockumentary, with one of the most unique plots to come out of this year. It’s not often that mockumentary cinema works without constant twists and turns, but Chestersberg has a certain simplistic charm that doesn’t confuse and run off topic, with a steady comedic pace and macabre motives that delivers exactly what it says.
Chestersberg brings the best of dark British humour to its forefront, even the most heinous scenes are brought to life with perfectly timed jokes and hilariously surreal characters. In fact this aspect of surrealism is a running theme throughout. The plot is crafted in such a realistic fashion that we almost forget this is entirely satire, plenty of familiar circumstances are strewn out such as town hall meetings and debates about outsiders invading the community. But of course with it being set in Chestersberg, beheading’s, mutilation and gouging constantly comes into play.
McKellar combines the two typically polar opposites of village conundrums with murder to create a hard to fathom surreal environment, yet you can’ stop watching due to its cleverly crafted story.
Chestersbergs distinctive mockumentary disposition works perfectly with the unparalleled distorted reality that plays across the whole run-time. The deliberately exaggerated tone captured in a documentary fashion forms a purposefully raw quality that enhances the aforementioned realistic atmosphere. One of the more prominent aspects that the documentary composition highlights is the wonderfully gross kills and violence.
Within the first introductory minutes we are a witness to a bloody beaten man with one of his eyeballs loosely dangling, nevertheless the humour taps in when Chester interrupts his suffering with the offering of a battenburg slice and a lecture about the importance of sleeping bag togs. Despite the hilariousness seeping in each scene, the impressive special effectsstill remain quite potent.
Now, with quite a rambunctious story comes natural questions ‘how would a town like this actually work?’ Fortunately McKeller soothes our intrigue, with scoping out further than the village boundaries to introduce our secondary group of characters – the law. DI Matthews (Alexander King) plays a rageful officer, disgruntled at the legal loopholes that Chestersberg has played. However, due to the consistent character development and their charismatic personas we somehow are completely on their side. It’s these brief interludes of seemingly more ‘normal characters’ that prevent the film from dragging and keep the absurdity of Chestersberg fresh and charming.
Of course these aspects come to life quite frequently throughout, they even form a large part of the build-up within the film; although a successful job is done at making Chestersberg seem slightly conceivable in a mad sense, it is when the other British murder towns enter the picture does the bloodshed and carnage really come to life. Who would have thought that the inner politics of killing towns would be so interesting?
McKellar delivers an overall exciting watch, with equal amounts of tomfoolery and bloody gags to both disrupt audience expectations, slightly disgust and to more importantly entertain.
Watch CHESTERSBERG at this years festival on 31 October 2020 at 17.00pm.
Grace from Film Overload takes a look at our Saturday international feature screening of Danni and the Vampire, available to watch at this years festival on 31 October 2020 at 13.30pm.
‘Endearing indie vampire flick breathes new life in to saturated genre’
Danni and the Vampire tackles the saturated vampire genre, with a fresh perspective on horror comedy. To mix habitually alternate genres is a brave decision. However, it’s one that writer and director, Max Werkmeister handles with a clear sense of direction. In a film drenched with a neon glow and warm characters comes a unique tale of acceptance told through a morbidly charming lens.
We follow Danni (Alexandra Landau), a seemingly heroic creature-catcher who can’t escape her legacy as the famous Jersey Devil slayer. However, behind her bold persona lies a much deeper want for confirmation and steadiness. Her true unravelling identity is discovered when her past catches up with her when she meets two cryptic organisations hunting down the bloodthirsty vampire Remy (Henry Kiely).
From the offset a satirically macabre sense of humour is established, with purposefully exaggerated characters that quickly leave the audiences hooked from the very beginning. The comedy is not overtly theatrical, but instead well timed and appropriately dark. With this being said, Werkmeister steadily transitions the narrative to not solely focus on the horror comedy aspect, with a gradual thematic shift that focuses on the blossoming dynamics between Danni and Remy.
Vampire films pair perfectly with human relationships, however after years of tiresome ‘immortal versus mortal’ bonding stories, the whole aspect of vampiric enamour has worn dry. Yet, the bond between Danni and ‘the vampire’ runs deeper than the bloodlust tales of the past, with their dynamics remaining unexploited and somewhat wholesome. Dripped in a neon light, we see this unlikely relationship grow into something that we actually care about, our compassion lies within their understanding of each other’s inner intentions, not just their tough exteriors. Danni and Remy’s obvious chemistry is significantly transparent throughout.
With the performances from Kiely and Landau coming across so fluidly; we truly connect and root for them, rather than simply watch their actions unfold. Combined alongside their like-ability is their endearing self-discovering journey, that is portrayed as authentic, rather than overtly cliche. In fact this avoidance of familiarity and typicality is something that runs across the entire film, with the audience constantly left unaware of what’s around each corner.
All these boundless subplots could be easily distracting and overzealous, yet Werkmeister cannily holds our attention via the visually engaging imagery, with vibrant neon lit atmospheric tones and impressive effects that successfully reel the viewer in. Despite the bright exterior, there are still lingering moments of suspense that balances out the sporadic humour, all the whilst keeping in time with the zesty aesthetic. It’s this quick paced fun vibe of the film that not only adds to its rewatching power, but also it’s memorability for being an obscure comedic take on the classic vampire tale.
Grace from Film Overload takes a look at our final feature screening of the 2020 festival Ten Minutes to Midnight, available to watch at this years festival on 1 November 2020 at 21.45pm.
Blood, thrills and carnage wrapped up in a kaleidoscopic fever dream
Erik Bloomquist and his brother Carson Bloomquist bring us Ten Minutes to Midnight, a hardcore bloody film that delves deep into the rattling psychosis of a feisty late night radio host as she battles through her tumultuous last shift before being savagely replaced by an entitled young women straight out of college.
This is not a film for the faint-hearted, with the shock value tuned to the highest frequency. Blood, thrills and carnage make Ten Minutes to Midnight unmissable, but what Bloomquist undoubtedly achieves is a gripping adventure into an unravelling breakdown surrounding the loss of personal identity and not knowing your own existence without the foundations that bind it together.
Unfortunately films that combine both electrifying visuals and emotive narratives typically fails, with one aspect always outshining the other; however, our protagonist Amy Marlowe played by the talented Caroline Williams delivers a heartfelt performance as an experienced radio DJ being harshly forced out of the career that defined her. Williams portrayal of Amy is irrefutably enthralling as she not only hits every mark, but also brings such a convincing representation of a person on the edge.
It’s no surprise that Williams’ acting raises the stakes as she has an iconic scream queen reputation from playing the fan favourite ‘Stretch’ from the infamous 1986 film The Texas Chainsaw Massacre 2 (Tobe Hooper). Despite the notable filmic accolade that Williams claims, she does not craft her performance around her previous roles, with the character of Amy presenting a fresh take on a delusional individual. Horror fans may also notice that the eccentric security guard Ernie is played by the late Nicholas Tucci who famously played Felix in the outstanding home invasion film You’re Next (Adam Wingard, 2011).
The at times over the top aesthetics such as the sporadic shift in discourse is purposefully adapted to cloud the viewers sense of judgement throughout. Each act of the film serves to amplify the building atmospheric tension, with an utter sense of dread being conjured in each scene. The first portion of the film plays out as a catalyst for the madness we are set to witness, with Amy being bitten by a rabid bat which sets the pieces in place for a crazy night which can only end in madness.
As the film progresses, we see Amy recklessly ruin what’s left of her career. To further the ensuing chaos is the complete kaleidoscope fever-dream that the film becomes. Just like Amy we do not trust what is fiction and what is the truth, everything is sporadic and disjointed, with grotesquely violent visuals flooding the screen in the best way possible.
To complement the intentional dismissiveness of reality is the outstanding special effects that startle the audience. Graphic burns and peeling skin are only some of the viscerally rich imagery that certainly magnifies the horror. But what really serves to dramatize the film’s message even more is the narrative compositional flow that directly pushes the limits on the necrotizing reality that can be quite contentious throughout.
Underneath the impressive visuals are an obvious penchant Bloomquist has for the genre. One of the aspects that make any horror film stand out is the setting, for Ten Minutes to Midnight a radio station is where all chaos ensues. Bloomquist utilises some of the best genre tropes such as after-hour timeframes and dark hallways to alert the viewer to the claustrophobic environment.
Different meanings can be easily reached as Amy’s spiralling is presented in such a dream-like way. However, whatever you take away from the film, one thing is certain, underneath the blood-splatter is a brutally raw film that crawls between subjective and objective to create a memorable experiencelike no other.
Grace from Film Overload takes a look at our first feature screening of the 2020 festival I Scream on the Beach!, available to watch at this years festival on 30 October 2020 at 13.30pm.
Homage to 80’s slashers brings blood soaked nostalgia to Southend-on-sea
Alexander Churchyard and Michael Holiday bring back eighties nostalgia in their latest film, I Scream on the Beach! Filmed at the infamous Essex seaside Southend-on-Sea we are introduced to the fictional sleepy town of Mellow Coast, where Emily (Hannah Paterson) is still grieving the mysterious loss of her father years prior. Unfortunately, for Emily her friends and rather cruel mother dismiss her suspicions surrounding the cryptic circumstances that her father ‘disappeared’ under.
It’s no secret that eighties culture has become somewhat of a surging trend recently, with films commonly replicating those vintage aesthetics. I Scream on the Beach! utilises this quality to manifest a magnificently rambunctious tale set over thirty years in the past in 1980s Britain. Churchyard and Holiday capture the nostalgia both technically and narratively, with ensuring the mention of video nasties and the moral crusader Mary Whitehouse. With this being said the film could be described as a homage to the once controversial VHS tapes that ‘plagued’ the nation, with the film embracing gore and purposefully featuring the grainy and distracting qualities that came with said tapes.
The recreation of VHS trademarks is cleverly executed and surprisingly challenging. Throughout the film the visuals are constantly washed with the classic worn down visual characteristics that were common with used tapes, alongside this is the out of sync dubbing that’s a token to nearly every eighties film. Although these techniques may weigh heavy on some, it’s what gives I Scream on the Beach! its overall thematic vibe.
In keeping with the reminiscent tone the horror legend Lloyd Kaufman makes an appearance as the enigmatic Dr. Lloyd. Kaufman’s cameo helps harness onto the eighties sensationalism, with him famously co-directing alongside Michael Herz the absolute horror classic, The Toxic Avenger (1984). Kaufman’s appearance is one of the many features that keenly highlights the passion project elements that this film fruitfully adapts.
Whilst the technical aspects draw the viewer in, what also keeps the audience guessing is the likeable nature of the lead characters (which can be pretty rare within horror). First we have the playful ‘Bants (Ross Howard) and the film aficionado Jeremy (Jamie Evans), followed by Bants girlfriend and Emily’s friend Claudine (Rosie Kingston) as a group the friendship dynamic comes across as realistic, with no awkward flow. But the true chemistry between characters comes from Emily and her budding romance with newcomer Dave (Reis Daniel).
To accompany the feasible bonds is the decent acting that is consistent throughout. Another aspect that I Scream on the Beach! effectively lands is the steady humour that hits on every beat. The warm character’s inner banter is genuinely comedic and quite familiar to many audiences. Yet, the amusing tone doesn’t distract from the terror, but compliments the tone instead.
To solely rely on classic horror and not create an original and expressive narrative to coincide with the theme is regrettably quite common within similar films. However the film works entirely as a standalone concept besides the vintage aesthetics. It’s this element that makes it stand out from the rest and succeed within the genre.
The entire story is not only effective within its portrayal of horror, but also relatively unique, with not many films being able to pull off the sort of twists and turns that Churchyard and Holiday achieve. This is what makes I Scream on the Beach! so entertaining, it’s the fact that it carefully balances humour and horror.
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are dead happy with it.OkNo
