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Retrospectives Reviews

Retrospective -Tales from the Crypt (1972)

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The infinitely popular and highly respected Tales from the Crypt is a cinematic treasure whose history and legacy is a potent example of how horror films can last for generations and still remain as culturally influential as ever. This quintessential British horror is based on the EC comic series of the same name, which ran for twenty-seven issues between the early 1950s all the way through to 1955. The magazine was known for its ghoulish yet beautiful artwork and darkly humorous tales that captured every monster-mania story from whodunits and vengeful killings to ghosts and cursed familial clans. The enigmatic world of comics is infamously difficult to capture on screen, and yet director Freddie Frances manages to bring the pages to life in this 1972 classic. 

The filmic adaptation is structured as an anthology piece, chronicling five segments, which are all wrapped up by an overarching narrative. This larger connecting story follows a group of five strangers who happen into a dusty, haunting layer where the mysterious and magical Crypt Keeper (Ralph Richardson) tells them a story of how they will all meet their fatal end.

The first story begins with how a flashy woman, Joanne (Joan Collins) kills her husband (Martin Boddey) for his hefty life insurance payout before she comes under attack by a blood-thirsty killer dressed as none other than Mr. Claus. The second story follows married man Carl (Ian Hendry) and his secretary/mistress Susan (Angela Grant) who suffer through a disturbed case of retrospection and foreshadowing allegories just as they meet their demise. The third tale features the fate of James (Robin Phillips), an aristocrat who takes it upon himself to drive an older man, Arthur (Peter Cushing) to his death.

Little does the supposed nobleman know that Arthur dabbled in the occult. The penultimate segment closes in on businessman Ralph (Richard Greene) and his wife Enid (Barbara Murray), who undergo an awful fortune at the hands of their greed and foolishness. Last but not least is Major William’s (Nigel Patrick) ghastly end as he is struck down with a vengeful death by the impoverished members of his own care facility after they tire from the man’s cruel treatment.

These rich and dramatic narratives are the reason why Milton Subotsky fell for the series. Subotsky is better known for being one-half of the founders of the legendary British production company Amicus Productions. In their heyday, Amicus were known for their horror movies that thrived in stylish aesthetics and anthology structure, with their filmography often being compared as a previous rival and retrospectively as somewhat of a ‘compadre‘ to Hammer Studios. Subotsky’s adoration for the story was enough to convince business partner Max Rosenberg to green light production, leading to the soon-to-be hit being filmed at Britain’s own Shepperton Studios. 

Tales from the Crypt captivated from the very start with the film being both a commercial victory and a success amongst the film critic scene. As it stands, Tales from the Crypt remains as one of Amicus Productions’ most profitable films. One of the factors behind the film’s immediate triumph was the narrative’s dazzlingly elaborate, multifaceted and eerie nature. 

The moralistic undertones are a key element in defining the film. If it weren’t for the various cautionary tales that clearly distinguish their own lesson and principles, the film would not have the same beloved, urban legend-like quality to them. Tales from the Crypt recreates short, traditional stories that in some way or another have been passed down to us for centuries. The anecdotes surrounding greed, recklessness, selfishness, lack of empathy and so forth all establish a sense of poetic justice. In other words, the film mimics karmic retributions, adding a gravity to the plot that reinforces the ambiguous enigma surrounding the Crypt Keeper himself and his treasure-chest-like book of the evilness behind the human condition. 

As it stands, the film is a horror landmark, reigning supreme at the top of many movie-goers ‘must-see’ lists. The film has been donned as a trailblazer in British cinema, with the narrative’s pivotal cynicism and coldness speaking to the nation’s brilliantly nihilistic, dark humour that really is a one of a kind. If the lasting positive reviews were not enough, the film also sparked a cinematic multiverse-esque franchise that tied in an entire television series (Tales from the Crypt [1989-1996]), a radio series (2000), a sequel – ‘The Vault of Horror’ (1973), followed by further films ‘Demon Knight’ (1995), Bordello of Blood (1996), and ‘The Ritual’ (2002). 

Tales from the Crypt epitomises the sinister joy that Christmas horror brings, from the evil Santas, to the morbid deaths surrounded by a strange, macabre and obscure sense of reflectiveness. Last but not least, the film is brimming with the talents of many, particularly the bold dramaticness of Joan Collins playing a murderous housewife, followed by Peter Cushing, who excels in every manner – not that this is surprising at all! The superb aesthetics, theatrical nature and uncanny tales from the Crypt Keeper all make for an excellent, no matter how many times you may have seen this brutal, Yuletide gem. 

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Retrospectives Reviews

Retrospective – Black Christmas (1974)

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Bob Clark’s 1974 classic, Black Christmas is undoubtedly one of the most beloved Christmas horrors, a bonafide slasher must-see and more often than not hailed as a true genre forefather, cementing the tropes we all know and love today. To phrase it simply, Black Christmas is an exceptional feat. 

The chilling urban legend, often coined as “The Babysitter” or the more plot-revealing “The Babysitter and the Man Upstairs” is a campfire essential, the kind where a torch is held under the chin, creating ghostly shadows as the terrifying story bleeds out from the speaker. Its gravity is palpable, which Clark so impactfully captures within the plot of Black Christmas, based upon this iconic tale. Black Christmas opens with a Sorority house hosting a small soiree before the night is interrupted when Jess Bradford (Olivia Hussey) answers the phone to a disturbing caller, grunting obscenities. This is not the first time the unwelcomed caller has rung, earning himself the sorority-granted nickname “The Moaner”. Distressed by ‘The Moaner’s’ continuous threatening mumblings, student Clare (Lynne Griffin), retreats upstairs to pack for the upcoming holidays, however, she is soon suffocated to death by an unseen man lurking in her wardrobe. This first domino of Clare’s murder sets off a chain reaction of pure mayhem as the killer strikes again and again. 

Black Christmas’ prototype-like properties for horror cinema vary from the intimate cinematography, all the way through to the ‘final girl’ theory. Beginning with the visuals, cinematographer, Reginald Morris continuously plays with the film’s voyeuristic tones, whether that be through the recurring point of view shots, or the positioning of the camera to show the characters from the perspective of ‘the other’; think of long drawn out shots of the camera peering at the characters through a window, or static scenes of a character going about their business, with the camera lurking from behind an object, replicating a prying, hiding gaze from an antagonistic force. 

It is these sinister, foreboding visuals that were replicated in the likes of ‘Deep Red’ (1975) ‘Halloween’ (1978), and ‘Friday the 13th Part II’ (1981). Peeping into the privacy of others and watching in wait are common tropes that were not ‘invented’ from Clark and Morris’ work in Black Christmas,  but it was one of the kickstarter’s that forged an unforgettable flame that remains to this day the initiator of some of cinema’s most terrifying scares. 

Further elements that don Black Christmas as an iconic exhibition of genre cinema are its genuinely thought-provoking and intriguing politics that extradite the horror of reality and place it against an unnerving, tinsel-decorated background. Whilst the dramatic undertones have always been present within the reception that the film received, it is noticeable that over the fifty years (!) since its release, Black Christmas has been acknowledged as quite the feminist piece.

Professor Carol Clover cemented the idea of a ‘final girl’ in her 1992 book ‘Men, Women and Chainsaws’, with her work examining this idea of the surviving female in slasher films, a character that she describes as the one “who is chased, cornered, wounded; whom we see scream, stagger, fall, rise and scream again”. She is the one who lives to tell the tale, and in the case of Jess Bradford (alongside all the other established final girls), she is the catalyst that blurs the screen and the viewer personifies a sense of contagious empowerment and enforces a sense of active agency. 

Latching onto this string of agency is the film’s exploration of bodily autonomy. A subplot of the film concerns Jess’ pregnancy and her possessive boyfriend Peter’s (Keir Dullea) reaction. Whilst Peter sings the positives of the situation and how the pair should settle down and start a family, Jess expresses her anxieties over the citation, leading to a receptive conversation about autonomy that is still ignited as a topic towards the film to this day. As such, Black Christmas is infused with an autonomy-tinged undercurrent that speaks to the entirety of the narrative.

To digress, the film was released one year after the landmark event ‘Roe v. Wade’ (1973), which by a Supreme Court decision dictated abortion should be legalised across the United States, formed upon the basis of the constitutional right to privacy. Incorporating a current subject into a narrative structure, only to forgo its significance is a disservice to the weight of whatever situation is at hand.

What makes Black Christmas still significant to this day is that Jess and Peter’s subplot did not fade into the midst, the story properly took hold of the matter and saturated its gravity into the film. For instance, Jess’ internal conflict is voiced with a maturity that does not deem her ‘irresponsible’ for wanting to terminate her pregnancy, nor bound to the patriarchy for wanting to keep the child. Black Christmas allows Jess room to breathe as a character, and to be morally multifaceted. The nuanced exploration adds a certain depth to the film that aids its transcendence as a true classic.

The slasher genre is ballooned with an array of treasured films including but not limited to: ‘Scream’(1996), ‘Friday the 13th’ (1980), and ‘A Nightmare on Elm Street’ (1984). Alongside this is a barrage of slashers that do not hold a flame to the key players, the ones that slipped through the cracks, and for good reasons why. To create a meaningful slasher there need to be the obvious, blanket positives across all films – a soundtrack with a dramatic flair that adds buoyancy to the tension, interesting story hooks that drop intriguing twists and turns, and a form of memorability that typically manifests within the main villain, often a masked, cunning and nefarious being. Black Christmas, ticks all of these boxes whilst still maintaining a unique, savviness that allows it to be a jolt to the expected elements, even on a contemporary watch. 

Unlike the famed cloak-shrouded, claw-gloved, hockey-masked monsters of slashers (with goodwill, we here at Dead Northern are massive admirers of the mentioned villains), the primary antagonist in Black Christmas, later known as ‘Billy’ (Nick Mancuso), is largely physically unidentifiable, with his motives, nature and complexities also being concealed. Billy’s anonymity is a large part of the film’s disturbing nature, with him not only naturally gaining an omnipresent aura of terror, but also an air of uncertainty as to how his reign of terror is resolved. There is no unfolding backstory over the whole course of the narrative where bread crumbs can be left for his capture, nor is there a resolute understanding of what he wants, the end goal, and what can make him stop. He is a force of chaotic and sporadic violence that can taunt anyone and everyone. 

The film’s conclusion nods to Billy still being on the prowl, despite the incessant ploys, fights and will to put an end to his madness. Billy’s unrelenting pursuit is demonstrative of Black Christmas’ legacy in cinema. The film marks the top of many slasher “listicles”. Its structure catalysed the subgenre that we know and love today. Black Christmas has spawned a desirable endowment to horror, with the film even spawning two further entries with the quintessential 2000’s ‘Black Christmas’ (2006), and the not as popular ‘Black Christmas’ (2019). Fans even joined together to make a mini feature titled ‘’It’s Me, Billy: A Black Christmas Fan Film’ (2021), which was followed by the sequel ‘It’s Me, Billy Chapter 2’ (2024). 

Bob Clark’s masterly composition of a Christmas-themed slasher is a seminal work that has stood the test of time for fifty years, with its impact surely lasting many more decades. The film is an emotionally complex touchstone of precisely what a festive, bloodied yule-tide bonanza should be – dark, mysterious, contemplative and a celebration of all things horror.

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Reviews

Review – Heretic (2024)

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The definition of the word ‘heretic’ is as follows; to go against, to reject, to rebel against the standard order. Just as the description entails, directing duo Scott Beck and Bryan Woods’ new horror, ‘Heretic’, rebels against every expectation in favour of being a contemplative, at times challenging and overtly chilling tale of frightful depths. The film’s tagline is “question everything”, and of that you will…

The plot follows Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), two missionaries for the Mormon church who happen upon the house of the reclusive, Mr.Reed (Hugh Grant). 

Without delay, Heretic makes its intentions clear. Whilst the film indeed drip feeds its terror bit by bit, Heretic does not hesitate in establishing a sense of intense unease from the outset, with all of its meticulous themes and fervently displayed aesthetics being immediately established. The combination of stunning, yet simple visuals and a deliberately monotonous and muted tone promptly sets the scene and introduces the running motifs throughout the film. In other words, just as the film visually affirms, the metaphorical exploration of dark labyrinths and weighty topics are hidden in the most unexpected of places. This aspect of layering the symbolism speaks to the philosophical-like structure of Heretic, which is further implemented by the heavy verbose-ridden script. 

Keeping spoilers at bay, the aforementioned themes generally focus on religion and all of its connotations, which are cinematically interpreted by the seemingly unending monologues and conversations delivered by Thatcher, East and Grant. On the subject of the cast, both Thatcher and East fulfil their roles with such dynamic enchantment, hitting every mark and genuinely elevating the film to be the success that it is.

Whilst the on-screen missionaries excel in every sense of the word, the film would not be complete without the talents of Grant, who executes the elaborate role of Mr.Reed with an air of true dedication to the craft. Many will know and love Grant for his bumbling performances of a typical Brit in love (Four Weddings and a Funeral [1994] and Notting Hill [1999]), meaning that his portrayal of a creepy, dread-bearing man will definitely take viewers out of their comfort zone when they realise the true extent of his surprisingly varied artistry. 


Heretic’s harrowing and poignant concepts that are laid bare throughout the film manage to avoid becoming redundant and too-wordy all at the hands of the exciting and at times literal twists and turns. Beck and Woods’ haunting take on nuanced topics does not become tiring as the film progresses; instead, the commentary becomes probing and thought provoking. As it stands, Heretic, is akin to that of a unique combination of both a complex conversational piece and an adventurous, heart-pounding horror that stands tall as one of 2024’s more interesting horror releases.

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Retrospectives Reviews Top Horror

Remembering Tony Todd

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Tony Todd’s extensive career traverses across film, television and theatre, with the actor surpassing over 100 credits. His remarkable decades-long career is a testament to his captivating, and at times chilling talents. His dedication for all things performance has crafted a devoted fan base who have followed his many powerhouse accounts in some of cinema’s most iconic roles. 

It was during his university days studying theatre that Todd honed in on his overt stage presence, learning to immerse oneself in the role and become synonymous with the script – a facet that would long follow Todd throughout dozens of performances. It was in 1986 that Todd would get his ‘big break’ in Oliver Stone’s Platoon, the Academy Award winning film that saw Todd play the emotionally grounded Sergeant Warren. Shortly after, Todd’s on-screen presence began to thrive, picking up countless, yet still meaningful and powerful roles that would cement him as the icon that he remains today despite his passing on November 6th 2024. 

In commemoration of who is unarguably one of horror’s greatest icons, Dead Northern presents a retrospective of Tony Todd’s career. 

Night of the Living Dead (1990) 

George A. Romero’s Night of the Living Dead (1968) is one of the most pinnacle horror films to grace the screen, which consequently means that initially the 1990 remake was received with quite the touch of contention. Despite the mixed reaction, the film has blossomed into a fan favourite, with the similarities of the original and remake being continually referred to. The textual difference between the two is minimal with the script and plot points essentially being a mirror image. Another similarity is the emotional depth and commentary within the film, with both features being reminiscent of societal inequities and systemic qualities. Such an emboldened film with all of these crucial elements needs a strong lead, which in 1968 was headed by the character of Ben (Duane Jones), who proved exceptional as the pragmatic source of compassionate authority of the story. 

In other words, Todd had ‘big boots to fill’. Todd’s revisioning of the prominent ‘Ben’, infused that quintessential warmness and groundedness that Jones so brilliantly portrayed, but Todd added that theatrical flare of emotional intensity that spoke to his gravitas as a performer. He was a lead character in every sense. Todd’s ‘Ben’ dominated the screen, steering the narrative with his outwardly expressive acting that cinematically took over Todd; as if the two people, one fictitious and one real, fused to be one. Contemporaneous opinions towards Night of the Living Dead often cite Todd’s enigmatic spark that makes for an objectively entertaining watch. 

Candyman (1992) 

“Candyman, Candyman, Candyman, Candyman…” Todd’s biggest role is unarguably the titular, bee-swarming, dominating Candyman, the vengeful entity who viciously murders anyone who dares summon him by saying his name five times in front of a mirror. 

The premise of Candyman first appeared in notorious horror writer Clive Barker’s anthology series ‘Books of Blood’, in the entry ‘The Forbidden’ (1985). The story was originally set in Barker’s native Liverpool, UK. and emulating the British class system as a horror vessel, however, after the rights were obtained director and writer Bernard Rose began to recognise similarities between the urban areas of Liverpool and housing projects in Chicago, Illinois. With the new setting came new opportunities to expand the story and reflect the area more appropriately, just as Barker’s original narrative mediated on the specificities within Liverpool at the time. The Americanisation of the story saw the real housing project ‘Cabrini-Green’ become the primary setting for the film to play out. The estate was a largely impoverished area that was essentially abandoned of care by the state, leading to high crime rates. 

Through this modification, the lore behind Candyman changed. Candyman became the ghost of the 19th century born Daniel Robitaille, an African-American painter who was cruelly tortured to death by an angry lynch mob who cut off his hand with a rusted blade before covering him in honey and setting a swarm of bees on him. This death trap was the consequence of an interracial affair. Tragedy, injustice and ill-will anchors this story, consequently, whoever played Candyman needed an intrinsic aura of intensity, the ability to play a tarnished soul, one that is integral in its mission to inflict the most formidable of frights, whilst still maintaining a sincerity that is both hard and rare to achieve. 

The studio originally sought after Eddie Murphy (which is retrospectively baffling after Todd’s signature spin on the role), yet they were unable to afford the actor’s salary. Whilst the studio hunted for blockbuster stars, Rose had another actor in mind who he saw in the TV movie ‘The Ivory Hunters’(1990); in fact the filmmaker was so set on this performer that he did not want to see anyone else audition. To no surprises, the person in question was none other than the soon-to-be Candyman himself – Tony Todd. 

From day one Todd was dedicated to the role, he refused to make this ominous antagonist just another ‘boogeyman’, not another monstrous brick in the movie wall. Alternatively, Todd digested the heartfeltness behind the villainy and the stark, almightyness that came from Candyman’s reign of terror. Often, Todd would refer to his character as being tonally similar to ‘The Phantom’ from the famed and similarly artful, ‘The Phantom of the Opera’ musical – Todd really was ever the theatre fanatic! 

Todd continued to play Candyman for 29 years, from the very first screen adaption all the way through to its sequel, ‘Candyman 2: Farewell to the Flesh’ (1995), the third and trilogy-making entry ‘Candyman 3: Day of the Dead’ (1999), followed by the franchises latest feature ‘Candyman’ (2021). It is quite the rarity for the same actor to play the same major movie villain for every franchise feature, but it is definitely not surprising, particularly considering that Todd possesses the unique capabilities of capturing a melancholic ferocity with a sense of genuinity. Not to mention Todd’s notorious physical stature, with his 6’5” height and broadness immediately dominating the frame with an uneasy sense of authority, alongside his deep voice that makes that classic Candyman catchline “Be My Victim” sound so haunting and bone chilling. 

Final Destination (2000)

After the release of Candyman, Todd was adorned as a horror icon, amassing cameos in the likes of genre essentials ‘The Crow’ (1994) and ‘Wishmaster’ (1997), followed by a role in the first entry of the now major movie franchise ‘Final Destination’. Todd portrays William Bludworth, a mortician who can be described as one of the film’s critical players in the grand and complex lore behind the omniscient character of ‘Death’ within the films. Todd’s dramatic cadance and resonance transforms his role from being one of a simple ‘exposition teller’ to an amalgamated blend of a ‘voice of god’ being, a narrator and a cautionary figure, an oracle even. 

Although his physical screen time is not excessive, Todd’s performance was commended by the films fandom, leading to him returning to the role for ‘Final Destination 2’ (2003) and ‘Final Destination 5’ (2011). Although he does not appear as Bludworth in the fourth entry, he does make a sneaky cameo in ‘Final Destination 3’ (2006) as the voice of an animatronic devil for the film’s rollercoaster opening scene. As of recent years, Todd reprised his role of the ‘death teller’ in the upcoming and long awaited ‘Final Destination: Bloodlines’ (2025). Bloodlines is said to have a different approach to the typical setup of the previous instalments, with the film being not necessarily a sequel, nor a prequel, but a slight reboot. 

Todd’s character has been part of many Final Destination conspiracies, which include Bludworth being the evil mastermind behind the in-film ‘Death’s Design’ (which determines the entire plot device of one being unable to escape their fate). Lately fans have been speculating this theory even more in anticipation of ‘Bloodlines’ release, both due to it being revealed that the film will delve into Bludworth’s backstory, and due to the connection between Bludworth’s surname and the film’s title. Bloodlines? Bludworth? It’s a far fetched claim, but in the world of Final Destination, anything is possible. 

Hatchet (2006) 

Besides Final Destination, Todd made many appearances in a string of horror movies, including but not limited to: Murder Set Pieces (2004), Minotour (2006), Shadow Dead Riot (2006), Shadow Puppets (2007), The Eden Formula (2006), Dark Reel (2008), Bryan Loves You (2008), Nite Tales: The Movie (2008), Penance (2009) and The Graves (2009), and lastly, Adam Green’s, Hatchet (2006). 

Hatchet saw Todd play the swamp tour guide on the Bayou, Reverend Zombie, which Todd played with a brilliantly sardonic tone. His take on the tour guide was brief, but effective enough to return as one of the lead character’s in its sequel Hatchet II (2010). The sequel sees Todd in a larger role as Rev. Zombie. This time his actions are akin to that of a domino effect that sets the entire plot in motion. 

Todd’s capabilities as an actor has seen him lead diverse career that stands tall to this day, with his talents resembling that of a caldron mixing together the emotional sensibility of a stage actor who can dish out every line with such gravity, whilst also possessing that timeless physical dominance needed to play his in-depth characters. Despite Todd’s recent passing, it can be assured that his time on-screen will long live on. 

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Dead Northern Festival News and Reviews News

Dead Northern 2024 – Award winners!

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

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

Best Feature Film – Kill Your Lover

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

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

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

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

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

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

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

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

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

Best International Feature Film – The Stickman’s Hollow

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

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

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

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

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

Best Short Film – Skulk

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

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

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

Fresh Meat Award – The Bloke in the Boot

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

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

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

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

Best Cinematography – The Rising of the Sap

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

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

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

Best Performance – Becca Hirani – The Monster Beneath us

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

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

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

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

Best Supporting Performance – Ellen Jane Thomas – Scopophobia

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

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

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

Best Special Effects – Black Hole Barry

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

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

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

Bloody Good Death Award – Little Brown Bird

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

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

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

(Director Peter Rogers with his newly won trophy)

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

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Review – Hammer: Heroes, Legends and Monsters (2024)

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Hammer Film Productions has long been a concrete part of British cinematic history, defining the horror genre and cementing itself as a key component in the world of iconic horror cinema. To celebrate the production company’s prodigious 90th anniversary, Hammer has teamed with Sky Arts to create the epic documentary ‘Hammer: Heroes, Legends and Monsters’, showcasing the monumental journey of the infinitely beloved Hammer Films. 

Bringing this essential documentary to life is director Benjamin Field, whose approach to manifesting the elaborate history of Hammer is both one of valiant openness and meticulous detail. The documentary traverses the early days of the company, offering an exclusive peek into Hammer pre-horror, before moving into its glory days of monstrous proportions, featuring the origin tales of The Quatermass Xperiment (1955), The Curse of Frankenstein (1957), Dracula (1958) and The Mummy (1959).

Interestingly enough, the documentary is not fearful of delving into the downfalls that Hammer has experienced in the past. One particular example being the release of Captain Kronos: The Vampire Hunter (1974). The film may have experienced a resurgence in popularity over the last couple of years; however, upon its initial release, Hammer failed to promote this could-be-hit to its maximum potential. It is small details such as this that make ‘Heroes, Legends and Monsters’ the exemplary feat that it is. The film’s retellings are beyond comprehensive, with the modest runtime of 90 minutes managing to effectively and smoothly cram an entire encyclopaedia-like history into one single feature. 

The variety of Hammer’s history is exuberantly delivered by various talking heads, featuring interviews from a fruitful list of icons, experts and Hammer stars, including: Tim Burton, John Carpenter, Joe Dante, John Landis, John Logan, Axelle Carolyn, Caroline Munro, Martine Beswick, Madeline Smith, alongside Hammer’s new CEO John Gore. The string of genuinely insightful, exciting and interesting conversations, stories and never before known tidbits into Hammer’s legacy is spliced with contextual clips of the most beloved moments from the extensive catalogue. 

Heroes, Legends and Monsters will leave you brimming with plenty of ‘did you know’ quips to last a lifetime, with the telling, enlightening tale being akin to a tailor-made product that fans of horror will undoubtedly adore. Field’s actioning of spreading the legacy of Hammer is evident, with the future of the production house being teased. As Gore’s cameo makes clear, although Hammer is turning 90, the establishment is far from wrapping up. Gore’s direction is to revamp the studio using contemporary stylistics, but with that classic British charm that made Hammer the beacon of horror that it is. 

Hammer: Heroes, Legends and Monsters breathes new life into the conglomerate of monsters that evolved throughout the production’s whopping 90 years, with the documentary giving credence to the staple figures who have since passed. With permission from the estate, the legendary Peter Cushing makes an appearance during the epic conclusion, with his likeness being resurrected at the hands of AI. It is this precise means of furthering the history of Hammer that makes this documentary the absolute must-see that it is. 

Hammer: Heroes, Legends and Monsters premieres on Sky Arts this Halloween. 

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Beetlejuice Beetlejuice (2024) – Review

(The Reveal, 2024)

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

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

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

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

(Blavity, 2024)

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

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

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

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

(Deadline, 2024)

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

Hope Lelliott-Stevens

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Dead Northern 2024 Festival Review – Mad Props (Sunday Surprise screening)

Our Surprise Sunday feature is revealed below!

To be able to hold Freddy Krueger’s bladed glove, to sit and admire the luminescent glow of a real Lightsaber from the Star Wars universe in person, to be in reaching distance of the camera that shot the Alfred Hitchcock classic Vertigo (1958) is a dream of many cinephiles.

The fascination we hold dear towards movie memorabilia can blossom from a range of factors, whether it is because we still have a personal attachment to a beloved film from our childhood, or maybe it’s at the hands of a deep connection to a comfort film that we have watched time and time again.

Costumes, filming equipment, masks, and props, alongside an array of every niche object one could fathom, from the likes of genre essentials and cinematic universes, are not just meaningless articles that share a tie to media. In fact, it’s quite the contrary. As director and writer Juan Pablo Reinoso attests to throughout the documentary ‘Mad Props’, these pieces from the silver screen are inextricably tied to audiences’ sheer devotion and admiration towards the dazzling world of cinema. 

Exploring ‘prop culture’ as a valuable and critical art form is Mad Prop’s host, Tom Biolchini, a self-proclaimed movie nerd who sets out to review the wide array of props that collectors have formed entire museums around. Many of these collections exhibited throughout the documentary can be defined as entire conglomerates due to the overt size and range of relics amassed over the years.

One particularly notable display comes from the Lyon located ‘Musée Cinéma et Miniature’, a French museum akin to that of a vault filled with a mix of the most unique and iconic artefacts from cinematic history. Whilst the specificities of the objects are best left to be self-discovered, the exhibition ranges from 1980s horror favourites to Hollywood blockbusters. 

Alongside the countless displays of movie mementoes is a series of interviews between Biolchini and a whole host of industry specialists, prop connoisseurs and creators, as well as actors such as The Springwood Slasher himself, Robert Englund, Lance Henriksen, who notably played the android officer Bishop in the Alien franchise, followed by the multi-talented Mickey Rourke, star of 9 ½ Weeks (1986), Angel Heart (1987) and Sin City (2005) — to name a few. 

Despite the examination of mass collecting, Mad Props does not abandon the individuals who see collecting as a hobby, saving up and then attending auctions and spending ‘hundreds, not thousands’ on treasured, sentimental pieces. Culminating a prop collection is for everyone, just as the passion behind collecting is ubiquitous.

It is this notion that forms the skeleton on which Mad Props is based upon. From the various legends featured through to the humble collectors, followed by the director and host himself, Mad Props is a love letter to cinema. This remarkable movie was created by fans and very much made for fans.

You can catch the film Sunday 29th September at this years festival, tickets here!

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Dead Northern 2024 Festival Review – Slasher, Thriller and Creature Shorts

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Safe (Directed by David Yorke) 

Shattering all predictions is David Yorke’s Safe, a microshort that stuns with its humour and dark wit as we follow a unique ‘home invasion’ by a knife-wielding masked killer. The clever amalgamation of horror and comedy is not an unfamiliar sight, yet Yorke’s ability to create thrilling scenes of intense horror with a left-field ending is a lesson in original, artful filmmaking. 

Skulk (Directed by Max Ward) 

Claire (Elina Gavare) wakes in the night to the sound of screaming foxes. She remains annoyed yet unfazed at the common disturbance, that is, until she sees a strange figure outside her window. It’s not unusual to hear the screeching cries of foxes in the dead of night, with their innate raspy, almost-painful sounding screams being the nocturnal anthem of the British public. However, does it ever cross one’s mind that what they think are foxes calling out could be human screams or something even worse? This is precisely what director Max Ward so effectively conveys in Skulk. In the wee small hours of the night, the mind plays tricks on us, and with imaginations running wild, our worst nightmare seems only around the corner, or in the case of Skulk, maybe it’s already inside…

Body Worn Video (Directed by Tony Hipwell) 

From the filmmaker behind short films Standing Woman (2021), Bad Penny (2022) and the co-director of Zomblogalypse (2022) is Body Worn Video, a found footage horror. The film follows officers Cane (Oliver Devoti) and Adel (Chantelle Alle) as they answer a worrisome call concerning child abuse. Body Worn Video pulls a fast one with its unexpected genre twists that range from an occult-heavy ambush to a full monstrous assault. The effect of a body cam being the lens enhances the authentic and serious tone of the film, ensuring full immersion whilst the wildly nerve-wracking series of events unfold. 

The Curse of the Velvet Vampire (Directed by Christoffer Sandau Schuricht) 

Two horror fans meet in a cult video store to screen the mysterious film “The Curse of the Velvet Vampire”. This Danish short film has a movie-within-a-movie, meta-esque quality at the hands of the on-screen vampire film watched by the obsessed genre fans. As such, director Christoffer Sandau Schuricht peppers in plenty of cinematic detail, from the heavy stylisation that thrives with its ultraviolet lighting all the way to the vampiric infusion that is reminiscent of the beloved sleazy vampire sexploitation films of the 1970s. 

Nervous Ellie (Directed by David Yorke) 

The painfully shy Ellie (Kelsey Cooke) struggles to tame her nerves during a first date with Danni (Sophia Capasso), resulting in unforeseeable consequences. Award-winning filmmaker David Yorke succeeds once again in proving his stellar talents, with Nervous Ellie being a true feast to behold. As the film unfolds and its terrifying yet oddly stunning conclusion nears, the audience is treated to an immense performance from Cooke, the ‘Nervous Nellie’ herself. Although a short film, Nervous Ellie delivers a thrilling ending that the lucky viewers will long remember. 

Black Hole Barry (Directed by Alejandro Alberol) 

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

The Mannequin (Directed by Emelie Dahlskog) 

A hardworking seamstress (played by director Emelie Dahlskog) creates a mannequin based on her own form, but after a series of creepy events, she suspects that the mannequin has a mind of its own. The Mannequin taps into fears of existential angst, particularly how lack of progression in professional development can lead to deep-rooted anxiety over the self. This premise is materialised by the presence of the mannequin (Michelle Ljungcrantz), whose seemingly vacant appearance represents a lack of autonomy, as well as being a haunting, eerie force of horror. 

What A Catch (Directed by Thomas Pickering)

A Victorian fisherman’s (Nathan Geering) late-night fishing trip takes a sinister turn. It’s of no surprise to learn that director Thomas Pickering is a lifelong cinema aficionado, with What A Catch being a clear love letter to the potency of the horror genre. The short film has a rare mix of slow burn patience in revealing its source of terror whilst still being maximalist in its portrayal of bloodied horror. 

Little Brown Bird (Directed by Peter Rogers)

On the shortest day of the year, the overworked farmer Kate (Eliza Butterworth) must care for her ailing father (John Rhys-Davies), who has dementia and is convinced that something is hunting them. Little Brown Bird is an emotionally charged film that tackles the living loss of a loved one through dementia, with the relationship between Kate and her father being a focal point for the affective narrative to flourish. In tandem with the riveting, poignant story is the film’s moving scoring, which has a softness akin to a lullaby that works to further the dimensional relationship between the father-daughter bond amidst an air of uncertainty and mystery. 

Do Not Open (Directed by Samuel Terence McNally)

Do Not Open follows three friends (John Sinclair Evans, Leah Rogers and Adam Deary) who head to a remote countryside house, only to discover that the house has another guest stalking them, a formidable creature that can only be seen when it wants to be. This incredible short film was shot and animated entirely on Super 8, which embodies a raw, nostalgic take that adds gravity to the ‘found footage’ rhetoric of the plot. Throughout, the diegetic lens captures an almost voyeuristic aura that emulates this idea of an omniscient creature lurking amongst the group. 

You can catch the films Saturday 28th September at this years festival, tickets here!

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Dead Northern 2024 Festival Review – Mysterious Shorts

Les Bêtes (Directed by Michael Granberry)

Inspired by the works of Ladislas Starevich, the creator of the first puppet-animated film The Beautiful Leukanida (1912), is Les Bêtes, a haunting stop-motion horror akin to a dark fairytale that follows a mysterious rabbit who summons a myriad of wonderfully strange creatures. This four-year project, conceived by Michael Granberry, is entirely regenerative, with the short solely using recycled film and repurposing abandoned characters made for previous projects that never materialised. Granberry’s experience in the industry has seen him perform as a stop-motion animator in various award films such as Anomalisa (2015) and Tales of Halloween (2015), alongside the horror documentary Never Sleep Again: The Elm Street Legacy (2010) and Swallowed Souls: The Making of Evil Dead II (2011). The one-of-a-kind, outlandish aesthetic is made thanks to the improvisational development of the film, with the short having no script or storyboards; instead, Granberry gathers the intricate characters and allows a narrative to flow naturally. As such, Les Bêtes has an organic quality despite the fantastical elements, fashioning a final product reminiscent of a phantasmagorical fever dream.  

VHX (Directed by Alisa Stern and Scott Ampleford)

The nostalgia-driven VHX delves into the life of forgotten VHS tapes that sit on a shelf, waiting for the day when they will be chosen and played once again. Little do they know, there’s a fate far worse than living a life in their cases. Director duo Alisa Stern and Scott Ampleford’s mutual admiration for physical media and corny horror cinema, alongside their shared appreciation for the effects that stop-motion animation has to offer, creates a unique, laugh-out-loud take on the trials and tribulations of a neglected home video. The anthropomorphic tapes are what make the top notch animation and creative script thrive, with the Toy-Story-like actions and quick-witted personas being a scarily accurate representation of what one would imagine a humanoid videotape would act like. Top all of this off with an ingenious twist; then you have a guaranteed crowd-pleaser. 

Merkurio (Directed by Sébastien Pesle) 

This wildly chaotic and maddeningly entertaining thriller follows a lusted-after gigolo (James Ferrux) whose seemingly harmless flirting with an older woman (Olga Martinez) unleashes a world of volatile mayhem. This folkloric comedy meets witchy horror is inspired by the Basque lore and mythology from the Spanish quarters, infusing elements of obscurity and mystique to create an alluringly dark short with the bones of gory horror cinema. These facets of wickedness result in intensely graphic scenes of visceral bloodshed that are made all the more beguiling by the black-and-white effect lashed over the entire film. 

Fisitor (Directed by Llŷr Titus) 

Stalked by grief after the tragic death of his husband, Loan’s (Gwïon Morris Jones) life has spiralled into misery. As though fate was not cruel enough, his despair is compounded by the haunting of an unearthly creature of Welsh folklore. Fisitor is agony personified—a nightmare screened. Loan has lived through a cataclysmic misfortune, and director Llŷr Titus has no qualms in displaying this heartache, with this fantastic and moving short being one of great affective magnitude. Fused with the narrative is the display of Welsh culture that bleeds throughout. The film embraces its cultural roots through its dialogue, which is composed entirely of the Welsh dialect, and its inclusion of homegrown mythology. Fisitor’s mythological diegesis is rife with haunting imagery and a dark, bleak gloom that melds an omniscient feel to the antagonistic force throughout this deeply impactful short horror. 

Lord of the Free Range (Directed by Simon Dymond) 

An unwilling to budge father’s (Richard Glover) rigid ways of thinking pushes away his family to a mysterious cult run by the elusive Father Magnolia (Dominic Garfield), who makes it his mission to worship a ‘resurrected’ chicken. What Lord of the Free Range boldly and wisely does is challenge the various forces of play throughout, with director Simon Dymond satirising the antagonist’s presence of the overtly carnivorous appetite from Tony whilst also lampooning the ludicrousness of the cult’s actions. Accompanying the witty story is the unquestionably admirable production value that hones in on a rich, distinctive style and aesthetic to enhance both the character of the film and the overall effect. 

Demons in the Closet (Directed by James Smith) 

Demons in the Closet recounts the imaginative claymation story of a resident whose closet is host to a labyrinth of demons. This genre-twisting short flips the script as it delivers a thrilling and unparalleled twist of fates within less than two minutes. The punchy gore and monster design collaborate to create a wealth of wacky and wicked creatures that speak to how the art of claymation allows for textural depth and a sense of individual, handcrafted work to shine. 

You can catch the films Friday 27th September at this years festival, tickets here!