“Devilishly dark fantasy of one woman who has had enough”
The internet is an innate place for hate to breed. Opinions will be chewed and spit out by enraged profiles, therefore it was only about time a good old-fashioned revenge horror was made about it. The Columnist is a satirically dark horror film directed by Ivo van Aart and starring Katja Herbers (Westworld) and Bram van der Kelen. We follow Femke Boot (Herbers), a middle-class single parent tackling her critics in a rather unconventional way. As soon as The Columnisthit last year’s film festivals including Fantasia Festival and FrightFest, it became the latest ‘next best thing’, with positive reviews flooding in and it’s safe to say here at Dead Northern we are definitely in favour of van Aart’s instant classic.
The film blasts a modern motive. Most of us have experienced a bout of internet trolling, (albeit we do not release our frustration in the same way Femke does) through disagreeing with someone’s comments or being brave enough to put ourselves out there in the first place. The animosity behind keyboard warriors creates a thriving thrill for those who want to shame, and The Columnist takes great pride in enacting a devilishly dark fantasy of one woman who has had enough; Femke is our lead character, and the primary culprit behind the gruesome deaths plaguing anyone who dares to threaten her. The above-mentioned animosity is her greatest weapon as it enables her to carry on with her killing spree without the law following too close behind.
It’s this timely narrative that makes the film stand out on a wider level. Before we delve into the grisly details let’s take a quick moment to focus on the principal message at hand, unrepentant provokers. Throughout the film, Femke is brutalised for voicing her opinions, and despite a heated on-air discussion revolving around the harsh after-effects that come with trolls, the negative comments proceed to reign over every inch of humanity. Can we say that we are fully on her side? No, however, her vigilante persona does make for one hell of a wild ride into vengeance.
To play alongside Femke’s retaliation are a couple of subplots revolving around a budding romance and her daughter experiencing similar issues with speaking out at school, all in all making a multi-layered film that manages to tackle various interests without becoming too vague. Of course, besides the social commentary, this is a horror film, and blood, guts, and gore massively flourish. Within the short run time, we are treated to a plethora of delightfully savage kill scenes, with a personal favourite involving a rather vulnerable victim and a laptop… (It’s best left up to the imagination).
The performances fashion the film. We see Herber flawlessly portray a woman vexed by misogynistic roars. Throughout The Columnist, a para-dynamic shift in both character developments and pacing is made clear. Femke agonises over her feedback for a while before finally lashing out, this turning point only serves as an acceleration into madness. The deaths become more ruthless, she becomes clumsy in her discreteness and the threats only worsen. But do not be fooled, van Aart does not spend the whole runtime pouring our interests into her rage, our attention is also bound by Femke’s love interest, Steven Dood (van der Kelen) who I thought played the reverse role of an ‘angels advocate’ sat on the devil’s shoulder, shedding light into a dark situation.
As someone who spends a hefty amount of time online, I can slightly sympathise with Femke’s descent into obsession. We are on her side for the majority of the film, yet the last act pens the blame on the perpetrator. Is Femke just as wrong? Of course, there is little justification for her acts. Yet, the muted setting combined with the glory of chaos allows for a deeply transgressive narrative to shine at a time when it’s most needed.
The Columnist is available to watch via VOD right now!
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
This highly influential film barely receives any credit for being a significant instigator within the world of technology based horror. The film centres upon a deluded internet creep nicknamed ‘Captain Howdy who lures his victims in via an online chat forum. But what makes Strangeland sinisterly standout is Howdy’s malicious methods he exacts upon his prey, including ritualistic pain and body modification.
The abject reaction of the body being modified in nonconforming ways grips the audience and unfortunately makes us unable to turn away from such gruesome sights. Of course, these aspects of modern primitive culture are seen as a rite of passage in many environments, however Howdy graphically enforces his ethos amongst innocent victims. Yet, Strangeland does not overtly fall into the trap of ‘torture-horror’ as the story primarily focuses upon the judicial process of a detective attempting to save society from these savage antics.
2. Idle Hands (Rodman Flender, 1999)
Idle Hands has all the elements of a 1990s teen horror, however instead of being discernibly formulaic, Flender leads the film with a dark slice of humorous energy. The film follows Anton (Devon Sawa), whose possessed hand takes him on a murderous rampage.
At the time of release Idle Hands received mixed reviews, with many of the feedback falling towards the negative side. Critics labelled the film as nonsensical and absent minded, but from a retrospective point of view it is these attributes that make Idle Hands an entertaining ride into the obscure and absurd. The frenzied plot elements allow for audiences to get lost within the hilariously yet disturbed story.
3. Cure (Kiyoshi Kurosawa, 1997)
Cure is possibly one of the most undeservedly underrated horrors ever, with such elaborate craftsmanship and highly engrossing plot lines going under so many viewers’ radars. Cure follows a detective as he attempts to uncover the identity of a gruesome serial killer whose signature is carving an ‘X’ into his victim’s necks. The film was one of the original authors in forming the new wave of Japanese horror, thus establishing the archetype for hits such as Ringu and Ju-on.
Throughout the film we experience a lack of horror tropes and ghouls, instead we are gifted with the bare minimum. Horror does not have to be gratuitous and grand within its execution, instead empty space and strong horrific emotions such as grief and threat is enough to achieve great levels of horror. Cure is a highly acclaimed film, with audiences and critics adoring Kurosawa’s lingering visuals. However, the primary reason for its entry on this list is due to the sheer lack of acknowledgement that Cure has been subjected to since its release. Cure should rightfully shine in every ‘top 10 list’.
4.Cronos (Guillermo del Toro, 1993)
Although del Toro is now a beloved auteur, his early work is where his horror roots truly beamed. Cronos’ plot is best left to the surprise, but the basic premise follows the discovery of a small golden device that unleashes its addictive force amongst its possessor. The film spiritually embodies the role of a mythological tale, whilst exploring the potent power of immortality alongside grotesque imagery.
Such aspects are gradually uncovered in a particular way that tiptoes towards a metaphorical framework, surrounding itself with the temptation of prolonged existence. Cronos entices the viewer in with an intriguing storyline, but before audiences can get too comfortable del Toro exerts harsh moments of horror and desperation to create a memorable film that has a long reputation of being misunderstood and underappreciated.
5. Thesis (Alejandro Amenábar, 1996)
Thesis follows a young student who investigates the relationship between audiovisual media and violence, however events take a turn for the worst when she uncovers an unsettling snuff film. Thesis disavows the audience from cementing any expectations as Amenabar continuously mystifies the identity of who created this snuff film.
What makes Thesis work so well is the constant development of characters, not once can we reach a solid conclusion on whether to trust a particular character, even the lead protagonist. It’s this dimensionality that makes the film gripping throughout. Thesis runs with the detective-thriller craze that majorly bombarded the 1990s, with Seven being the lead example.
6. Nadja (Michael Almereyda, 1994)
Nadja transforms the classic vampire tale through reconstructing vampiric tropes within horror. We follow the story of contemporary vampires from New York as they set aside their dysfunctionalities to come together after their fathers death, all the whilst Van Heilsing threatens to interrupt their debilitated harmony.
The most notable reason as to why Nadja is a must-see is the film’s overt presence of a semi-arthouse style combined with a unique drawl that showcases a distance between the characters and the audience. There is no need to emotionally connect with the leads, we are instead here to witness a witty story that sophistically alludes to a purposeful deadpan humour.
7. Cube (Vincenzo Natali, 1997)
Cube is a uniquely crafted film that follows a motley crew of individuals who are trapped in a complex and dangerous trap to see how far one will go to survive these vicious traps. Cube only gained a small fraction of attention upon its release, and although it now has taken over a niche corner in the genre through its cult status, it is still a relatively unknown gem.
There are an array of visceral scenes that illustrate just how damaging these traps are, but the most enchanting aspect of Cube surrounds its concept. The box-like setting has been referred to as Kafkaesque due to the disorientating and helpless nature of consequences. This combined with the growing tension creates a claustrophobic environment that acts as a horrific labyrinth of torture.
8. There’s Nothing Out There (Rolfe Kanefsky, 1991)
Horror comedy can be a scattered genre, with one too many films becoming parodied versions of comedy rather than actually entertaining the viewer. A time when this was unfortunately rife was the late 1980s/early 1990s; due to the colossal amount of absurdity that many 1980s slashers used, it became difficult for future horror comedies to stand out. However, There’s Nothing Out There somehow tackles a story featuring a film geek, raging teens and a mutant frog without becoming anything less than an extremely amusing ride.
9. Troublesome Night (Steve Cheng, Victor Tam and Herman Yau, 1997)
Even the most seasoned of viewers have never heard of this anthology horror originating from Hong Kong. The basic premise is simple, a series of loosely connected ghost stories are depicted. The true intrigue of Troublesome Night is the lack of pattern, across the whole film we are teased with seemingly scary segments that turn out to be rather satirical, however in the following segment we are lured in with the promise of a dark comedy then end up being unnerved by the chilling visuals and haunting themes. Although Troublesome Night is relatively unknown it has spawned a further 19 films.
10. The People Under the Stairs (Wes Craven, 1991)
Wes Craven will forever be one of the most iconic horror filmmakers of all time, however The People Under the Stairs has at times slipped under the radar. The film follows a break in gone wrong, with plenty of twists and turns alongside creepy antics to keep the viewer engrossed the entire time. What makes this gem so memorable is its unique and clever execution of both horror and humour.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
There’s something in the water… The Bay ignites one of our worst fears, the dark unknown in the deep depths of the sea. The film opens with a young news presenter retelling the events of a town’s death due to waterborne parasites that feast upon human flesh. The found footage elements push forward confronting graphic effects posed against a scenic seaside town, almost creating a Jaws meets Cabin Fever mashup.
We see a plethora of alternative sides to the tragedy as the film uses the guise of an undercover documentary extracting ‘raw’ footagefrom the victims phones, video calls, and digital cameras. This devastatingly gruesome story entwines a complex eco-horror motive to somewhat expose a possible situation; the overtly realistic portrayal combined with a plausible scenario leaves us with the trembling fear that this terrifying ordeal could come true.
2. Hell House LLC (Stephen Cognetti, 2015)
Hell House LLC follows a group of budding haunted tour creators as they tackle their biggest project yet; the taking over of an abandoned hotel which was supposedly the ground of satanic rituals. Haunted house attractions and Halloween haunts have become staples for avid spooky-seekers, but with such popularity comes an inherent manufacture of extravagant proportions. Suspicious rumours regarding the intentions and reality of these events have risen in recent years as many conspiracists speculate that the body props are real.
So, what if you were to take this gossip and place it within a haunted house narrative. Hell House LLC takes us through the uncovering of what really happened the night that tragedy struck a Halloween haunt. Through the lens of our characters we see one of the scariest of clowns since Pennywise, a hauntingly chilling piano playing on its own, and an array of frightening abandoned rooms. Similar to classic found footage horrors, the film’s footage is primarily ‘lost footage’ unearthed at the scene, creating an immediately unnerving atmosphere when we learn that what we are about to see is entirely ‘real’.
Despite the use of the gimmicky true story trope, Hell House LLC has proven its legacy with the film blossoming two follow up pieces.
3. Lake Mungo (Joel Anderson, 2008)
Lake Mungo follows the Palmer family’s painful journey of grief and understanding after their teenage daughter Alice, traumatically passes. Unlike many other similar ghost stories this film truly roots its effective power within the emotive culmination of anxiety and loss shown frequently across the film. Alice acts as a mysterious figure who we never get to meet, yet are so bound with that we become involved with the Palmer’s dim reality.
Lake Mungo is as much of a mystery drama as it is a horror, thus to avoid spoilers it’s best to take a leap and watch it for yourself. But, one important sting that the film constantly abides by is the lost trick of minimalism to conjure scares. Do not expect bountiful jumps or gore, instead Anderson shows little to expose a lot.
4. Gonjiam: Haunted Asylum (Beom-sik Jeong, 2018)
Gonjiam follows a simple story, a group of internet horror explorers seek out their next big haunt at an abandoned asylum. However, they soon get more than they bargained for after the building’s long haunted history may be true. With a formulaic plot a thorough execution is necessary to create a memorable film.
Gonjiam does just this as we witness unnerving visuals and a biting tension that won’t quit. It’s within the second act where our fear is amplified; the looming dread lingers with the asylum walls coming to life. Similar to Grave Encounters, there is an overwhelming sense of apprehension where we feel that there is no escape from the horror, making Gonjiam a fantastic found footage film.
5. Exhibit A (Dom Rotheroe, 2007)
Exhibit A is a British horror following the life of the King family. This seemingly normal household is harbouring a harrowing secret that is soon exposed. The film flows through the eyes of Judith King, the daughter of the family after she takes it upon herself to start documenting their daily life. The opening scene immediately throws a dark spell upon our expectations with a still of Judith’s camera being labelled as crime scene evidence.
The normality of the King’s day to day life is gradually pulled apart as seemingly mundane comments and events soon become unsettling and grimly motivated. None of these sinister undertones would be possible without the incredible performances. We become entirely immersed in the façade due to the realistic character executions throughout. Exhibit A utilises the ‘kitchen sink’ British realism trope to its full advantage to deliver a distressing tale of deceit and betrayal.
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
With the fluency of director Alister Grierson, Bloody Hell has blasted onto the horror scene with an assaultive force cementing its position as being one of this year’s most surprising and devilishly indulging films. Writer ‘Robert Benjamin creates a story dripping with satirical hilarity and brutality, all whilst not falling victim to cheap cliches.
The tour de force that is Bloody Hell takes us on a wild ride as we follow Rex (Ben O’Toole), a recently released convict who unwillingly ends up in a sadistic Finnish family’s basement ready to be feasted upon by one of modern horror’s most barbarous households. However, can Rex’s internal monologue save him from the pits of hell?
It can be said that a film is dominantly character or scenario based, rarely both. Grierson carefully tiptoes between this line through creating an impressive character study without abandoning the richly entertaining narrative. O’Toole craftily carries this film with an incredible performance. We see Rex in two alternative lights, there’s his presentable persona and then his inner discourse whose valiant introspections create a devil’s advocate soliloquy.
Thrusting this rogue ‘bad-boy’ exterior even further is the film’s adventurous take upon what can be a risky sub genre; action horror. It was Rex’s heroic actions straight out of Die Hard that landed him in prison in the first place, and it seems that his time in solitude has only affixed this persona. This innately thrilling allure is what makes Rex the ultimate vigilante, with his fight or flight gutsiness exhibiting what we all wish we had the ability to do in the presence of a Nordic cannibalistic family.
Rex’s jovialness does not wear thin, but let’s not forget to mention the other piece in this twisted puzzle. The torture family trope is not entirely rare within horror, we’re accustomed to uncouth rustic families with an appetite for flesh living in an awfully convenient rural setting. Thus, it’s rare to be taken by surprise. However, we soon learn that this disturbed unit’s dynamics are much more complex than an insatiable appetite for flesh. Quite simply, Rex’s hosts are far from ordinary.
This erratic ruthlessness is not just exhibited through the characters, but also through the stimulating visuals. The sporadic hyper-stylisation is temptingly inviting, from the forthright confrontational cinematography through to the foreboding soundtrack denies the viewer any chance of normality.
This surreal horror warms with an eccentric satirical timing complimenting the surreal elements that are feathered throughout. This aligns with Bloody Hell’s use of frenzied camera work and unorthodox storytelling methods, making this a varied banquet with something for everyone.
Bloody Hell is available to watch via DVD/Blu-ray and VOD right now!
This weeks article comes via Grace from Film Overload, you can check out more of her work here.
Anthology horror can force a hellish crusade of amalgamated visions to ultimately create a blended film artfully formed to deliver a starkly dark piece. Although this seems like a complex myriad to achieve, Dark Whispers (Volume 1) smoothly executes a faultless entry into the anthology horror terrain.
The Australian film consists of ten chilling chapters from across the entire country. With an anthology framework it can be difficult to capture an entire short story from beginning to end without being too brief, yet Dark Whispers (Vol 1) overarching framework allows for each story to shine equally, regardless of its length and overall strength as a standalone piece.
This framing has a simple premise, but it’s an age old tale that works seamlessly. Creator and director Megan Riakos presents ‘The Book of Dark Whispers’. When Clara unearths her mothers secret ‘Book of Dark Whispers’ she discovers that each page contains a cryptically twisted story that promises the most chilling scares.
One of the most noteworthy components across the entire premise is that each and every segment is directed by a female filmmaker. Of course this fact holds bountiful promises within its own right, but to have this revolutionary concept be brought into the world of horror holds a whole achievement on an impressive accord.
Amongst the cast are Ed Speleers (Downton Abbey) and Anthony LaPaglia (Without a Trace) who feature in the segment ‘The Ride’, a darkly comic thriller which was backed by the BBC and Asher Keddie (X-Men Origins: Wolverine) who is terrorised by a stalker in the chapter ‘The Intruder’.
Each haunting chapter is woven to express equal measures of devilish hope, delusions and grief, all tied together in a horrific labyrinth. In one particular segment ‘Birthday Girl’ (Angie Black), we see a nervous woman enter into an elevator from hell. Her nerves are only heightened when a somewhat innocent young girl enters the lift with her, however as each floor descends, a parade of questions are thrown upon the woman until she is left in a bumbling mess of mysterious guilt and grief.
The second segment ‘The Man Who Caught a Mermaid’ (Kaitlin Tinker) is possibly one of the most interesting chapters to originate from the entire film. The short film follows a middle aged man with an unorthodox obsession over supposed mermaids. The mockery from fellow townsmen and his wife do not bother him in the slightest as he is entirely convinced that he will be the first person to capture a living breathing mermaid… or so he thinks?
Each chapter not only explores a different topic, some even delve into alternative forms of filmmaking. Gloomy Valentine (Isabel Peppard) uses stop motion animation to portray a rather emotive story following a lost soul attempting to remould her broken heart. Stop motion is not necessarily an unfamiliar technique within horror, but it is rare and more importantly it is very difficult to achieve a strong sense of horror when the audience cannot make that physical connection to the characters. Nevertheless, Gloomy Valentine manages to both tug on the heartstrings all the whilst maintaining a steady sense of creeping unease throughout.
Quite impressively Dark Whispers (Vol 1) was selected for a plethora of festivals, including Berlin Final Girls Film Festival and Cinefest Oz. And it’s no wonder why.
Dark Whispers (Vol 1) is a unique take on the anthology sub-genre that excitedly keeps audiences on the edge of their seat. An eclectic mix of short stories with something for all tastes, as long as those tastes are twisted!.
DARK WHISPERS (Volume 1), releasing on all major digital platforms across the UK and Australia on 25th January 2021.
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.
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