Tag: Dead Northern

10 brutal body horror films you need to see

Post author By Film Overload
Post date November 24, 2021

1- Tusk (Directed by Kevin Smith, 2014)

Wallace Bryton (Justin Long), a conceited podcast host travels to Canada to interview a viral celebrity, but when plans change he ends up interviewing a peculiar man with an odd obsession for walruses.

Although body horror relishes in the display of the absurd, at times what is actually more effective is a slow build up that takes its sweet time in revealing ludicrous shocking imagery that the genre is known for. Tusk is one of the most misleading films in the sense that director Kevin Smith constantly pulls in humour instead of resorting straight to horror, delaying the films ‘grand reveal’ and ensuring that our jaws are dropped when Wallace meets his fate. Tusk is no stranger to its fair share of criticism, with many early screenings delivering lackluster feedback. However, like all good things, Tusk has aged well. Now, it has a major fan following and is the first part of the True North trilogy, which also boasts Yoga Hosers and the upcoming Moose Jaws.

2- Slither (Directed by James Gunn, 2006)

Slither follows the humdrum locals of Wheelsy, South Carolina, as they battle an alien parasite that threatens to destroy every living being on Earth.

James Gunn may now be renowned for his work in the Marvel Cinematic Universe, but back in 2006 he made Slither, a grossly preposterous tale reminiscent of B-movies and pure schlock. It is not uncommon for many horror films to either have a well crafted narrative with a weak exposition (and vice versa), but Slither has a unique trait of having equal amounts of visual galore and excellent storytelling. With Night of the Creeps and The Brood being major inspirations for Gunn you can be rest assured that Slither is not for the weak stomached. Slither dares to test its audience. Blood, guts, and gore is not anything out of the ordinary for an average horror viewer, but Gunn turns it up a notch by creating these ‘larger than life’ human-based beings that embody the gnarly beasts of great Troma classic’s, including The Toxic Avenger.

3- Society (Directed by Brian Yuzna, 1989)

Bill (Billy Warlock), an everyday teen uncovers his family’s involvement in a ghastly orgy cult exclusive to the socially elite.

It is genuinely impossible to create a body horror list without acknowledging Brian Yuzna’s fascinatingly gruesome Society. Yuzna was a producer for the infamous Re-Animator, and with this in mind he bargained for a two-picture deal, with the first being Society. With such a brazen display of monstrous chaos it’s no surprise that the film still holds the trophy for being utterly surreal. As with all great films prior to the influx of CGI, Society delivers a spectacular venture made using practical effects. The final scene which has been dubbed “The Shunting” showcases a slimy limb-tastic orgy where nothing is left to the imagination. These effects came from the visionary Screaming Mad George, a renowned special effect artist known for his long-time collaboration with Yuzna. The giant puppet replicating dozens of slimy writhing bodies melting together stole the show, with the film even being shelved for a couple of years thanks to distributors being unsure whether audiences would really want to view something so disturbing.

4- Uzumaki (Directed by Higuchinsky, 2000)

The locals of Kurouzu-cho, a small Japanese town, begin to act strange as they become obsessed by spiral patterns.

Uzumaki may not be as openly obscure as other films featured on this list, but do not be fooled as this Japanese sleeper hit has a distinguishably freakish third act that loiters in the depths of your subconscious for days after watching. Based on the manga of the same name, Uzumaki is unlike any other film, in the same sense of how Eraserhead and Hausu are inimitable. And within those same lines the film is entirely disconcerting and devoid of any reality, with the most grounded scenes such as a character walking along a street, or even a family dinner becoming completely illogical. Each scene is caked in a grungy, seasick light, accompanied by uncomfortably close shots and ill-natured characters.

5- Altered States (Directed by Ken Russell, 1980)

Dr. Eddie Jessup (William Hurt), a research scientist, investigates the altered states of human consciousness through the use of hallucinogenic drugs to determine whether the various states of consciousness are as embedded in reality as our waking state.

Ken Russell may appear all across media reference books thanks to his work on Women in Love and The Devils, but for an unbeknownst reason Altered States remains fairly untackled by mainstream cinema. The film aims to be both as alien and as personable as possible, as we go back in time to the creation of man followed by the progression of earth and the body. Altered States is not without its plummy oscentasciousness, but rather than become a journey into the ego, the film savours its own psychological influences. Through disavowing a sense of normality, Russell captures our attention and uses it to both daze and dazzle.

6- The Thing (Directed by John Carpenter, 1982)

In Antarctica, an American research team discovers an extraterrestrial life form that can take the shape of whoever or whatever it chooses.

John Carpenter’s The Thing has held a renowned reputation for decades now, as this riveting exploration into paranoia and mistrust through the body still remains just as disturbing and delirious as it was back in 1982. When body horror is mentioned many will automatically visualise the assimilating dogs, or the gangling human-spider creature from The Thing, with Rob Bottin’s effects being nominated for Best Special Effects by The Academy of Science Fiction, Fantasy and Horror Films. Carpenter is no stranger to the world of horror, but The Thing has a special zing that makes it entirely stand out. Within the weird and wild landscape of the film we are isolated and confined to a secluded zone where terror hides amongst the crowd, forcing not only a massive sense of vulnerability, but also an exploration into the ‘great unknown’.

7- Cabin Fever (Directed by Eli Roth, 2002)

Five friends take a trip to a cabin in the woods to unwind and have a good time. Unbeknownst to them their shindig is about to meet a fatal end as a flesh eating disease begins to spread amongst the group.

Cabin Fever still remains a rocky entry amongst many audiences, as this rather coarse journey showcasing incredibly gnarly effects is often labelled as being gory just for the sake of it. Yet, Cabin Fever has this undeniable quirk that manages to get under your skin. Eli Roth has always been open about his inspirations, and for anyone who takes a closer look at the film the copious nods to genre classics such as Evil Dead, The Texas Chainsaw Massacre, and The Blair Witch Project is beyond obvious. But instead of creating a carbon copy of the overused cliché of a bunch of ‘twenty-somethings in a forest cabin’, Roth creates a rambunctious world where irreverence is dialed up to the max, and crude sensibilities radiate.

8- The Fly (Directed by David Cronenberg,1986)

Seth (Jeff Goldblum), a renowned scientist, has successfully created a working teleporting invention, but after a terrible accident he slowly begins to mutate into a grotesque fly-like creature.

David Cronenberg and body horror is a literal match made in heaven, it could even be said that his work within cinema has helped shape the sub-genre, especially with films such as The Brood, Scanners, and Videodrome lying in the midst of his extensive filmography. The Fly harbours a rich history that is now ingrained in cinema culture, with the film’s tagline “Be afraid. Be very afraid” having become repeatedly used in television and advertising. What allows The Fly to excel is the delicate balance of humanising a naturally abject matter. Seth’s declining wellness throughout the film is slow, but stark. Instead of him going to bed as normal and then suddenly waking up as a monster, special effects artist Chris Walas introduces the creature gradually, as we witness at least eight stages of mutation. Accompanying this slow transition is the film’s subplot of Seth’s aggressive mutations excising his own psychological wellbeing, unmasking the dark grittiness of humanity.

9- Tetsuo: The Iron Man (Directed by Shinya Tsukamoto, 1989)

A businessman (Tomorowo Taguchi) and his partner (Kei Fujiwara) accidentally kill ‘The Metal Fetishist’ (Shin’ya Tsukamoto), who as a strange act of vengeance transforms the couple into malformed metal-flesh hybrids.

Tetsuo: The Iron Man dares to be brave. Even in its most simplistic form, the film remains berserk. As with many other body horror ventures, there is no point in trying to search for reasoning over the film’s events. Alternatively, you have to just sit back and revel in the allegorical chaos that is Tetsuo. With all this being said, the transhumanistic qualities and the metal-urbanised aesthetics are entirely captivating and beyond cathartic. Shinya Tsukamoto exhumes a twisted cyberpunk-esque structure that forces the film’s hypersexualised aura right into the limelight, making sure that the visceral execution is inescapable. Although the film’s acclaimed reputation is primarily owed to its cult fandom, Tetsuo was also one of the first Japanese films that gained attention from large film festivals, resulting in Japanese cinema experiencing a boom within the independent film market.

10- Spring (Directed by Aaron Moorhead & Justin Benson, 2014)

Spring takes us on the fantastical journey of Evan (Lou Taylor Pucci), as he travels to Italy in hopes of clearing his mind. However, on his journey he meets Louise (Nadia Hilker), a mysterious woman who harbours a treacherous secret.

Spring is an enigmatically charged horror which equalises the body and the monstrous, all wrapped up in a romance film. Spring is entirely unique in its own right. Although the core motifs of the story are not unfamiliar, the flourishing execution is as visually stunning as it is emotionally warming. In spite of the fundamentals of body horror, Spring metamorphosis’s the sub-genre through creating something that isn’t repulsive to look at, or caked in slime. Opposingly, we are enthralled by the visually abject. One of those most transfixing elements of the film is the contrast between the picturesque Southern Italian landscape and the beastly creature that lurks within society. Spring is one of those films that is not plastered on every top ten list, nor did it receive plenty of media attention, truly matching the definition of a hidden gem.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

Reviews

Review – Last Night in Soho

Post author By Film Overload
Post date November 14, 2021

The whimsical Ellie (Thomasin McKenzie), heads to the bright city of London to attend a prestigious fashion college, but her doe-eyed innocence is soon interrupted when she discovers an ability to slip back in time to the swinging sixties where she witnesses the life of wannabe starlet Sandie (Anya Taylor-Joy), who dangerously falls under club manager, Jack’s (Matt Smith) spell.

Dancing in neon bravado and swaying throughout time to paint a daunting picture varnished with chilling fates and show-stopping performances is Edgar Wright’s Last Night In Soho. It seems that the promise of the film’s release has been held over our heads for years, with its premiere being repeatedly delayed. Luckily enough the wait was certainly worth it as the film upholds every promise that was made in the dazzling trailer.

Wright is no stranger to cult fandom, especially with Hot Fuzz and Shaun of the Dead floating in his seemingly endless filmography. Joining his talents is co-writer Krysty Wilson-Cairns, who deservedly garnered copious praise for her screenplay of Academy Award winner 1917. Together their collaboration of this riveting descent into imaginative violence is a force to be reckoned with and certainly a film to remember.

With all the praise comes a truthful reality, Last Night in Soho is difficult. There’s no denying that the amalgamation of genres, which range from musicals to neo-noir comes with an inescapable level of chaos. The melancholic swells of drama echo throughout just as much as the shadowy thriller aesthetics. The whirlwind of vibes is what allows the film to be utterly mesmerizing and rather impressionable as a modern triumph in the horror genre. The clear inspiration from horror icons such as Alfred Hitchcock and Mario Bava is clear, but rather than simply manufacturing a carbon copy of what is already out there, we get to witness a new and exciting approach.

In an episode of the podcast ‘Post Mortem with Mick Garris‘, Wright confessed to being engrossed by the culture of 1960s London after finding his parents’ record collection, mainly consisting of The Rolling Stones, The Beatles, and Simon and Garfunkel. His perception of the time was formed through listening to these songs and admiring the vinyl covers, creating an almost romanticised dream-like interpretation of such a culturally significant time. In essence, Last Night in Soho is not too dissimilar from walking through a museum, immersing yourself in a time that is long gone. With each scene comes a barrage of songs that will ring familiar to nearly everyone, including Cilla Black’s ‘You’re My World’ and a haunting cover of ‘Downtown’ performed by Taylor-Joy.

The film has this air of nostalgia from a time that viewers may not have ever experienced. Wright regenerates what we know as modern horror, forgoing the now archetypal film path in favour of enveloping late 1960s/early 1970s culture into the frame.

Last Night in Soho melts together Giallo influences alongside an eerie supernatural tale that creates a backbone so dense, that it makes the film almost hypnotic and impossible to forget. Giallo cinema has long been upheld on a pedestal within genre cinema, thanks to its innate ability to force the viewer to the edge of their seat, with aspects such as stark lighting, hyper-stylization, and graphic violence that plunges itself to the forefront of the narrative. In a commemorative ode to this, we get to see a type of format-based relationship that is common to Giallo cinema; an equal push-and-pull with both the story and the auditory/visual cues. Last Night in Soho liberally uses films such as The Bird with the Crystal Plumage as inspiration to conjure a blend of cathartic mystery, alongside a fully fleshed out story.

The film’s rapid success is also owed to the immense performances by Mckenzie, Taylor-Joy, and Smith. McKenzie is a powerhouse who manages to build a character so vulnerable and feeble that gradually becomes ferocious in her motivations, whilst Taylor- Joy perfectly achieves a lost tormented soul whose troubles have made her both fragile and strong at the same time. One of the most surprising character developments takes place in Jack. Jack takes his form as the ‘teddyboy’ manager who could have easily been written as a typical sleaze whose creepiness is just a regurgitated version of every other predatory character that’s already out there. Alternatively, Wright and Wilson-Cairns elaborate and create a brutally narcissistic character who truly reeks of pure evil.

Last Night in Soho is rich and disturbing, with a designated aim for making the viewer a pawn in a horrific tale of mistrust, vulnerability, and corruption.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

Tags anya taylor-joy, bava, Dead Northern, edgar wright, giallo, hitchcock, horror film festival, Horror Movies, horror reviews, krysty wilson-cairns, last night in soho, matt smith, thomasin mckenzie

Reviews

2021 Festival Review –Supernatural shorts

Post author By Film Overload
Post date September 25, 2021

An insight in to this years selection of Supernatural short films, showing at this years festival 25th September 2021.

Bee-El (Directed by CJ Vecchio)

The film follows Sabrina (Cate Rio), an ‘innocent young girl’ who befriends a malicious entity that inhabits her closet, bringing out a whole new evil side to Sabrina. Bee-El confronts our expectations through twisting the story to create an exciting tale brimming with sheer terror and exceptional scares.

Mimicry (Directed by Natalie Parker)

Mimicry is an intensely affective film that mirrors societal pressures of psychical appearances, and how one’s personal worth is continuously scrutinized by misleading perceptions. We follow Alice (Isabella Percival), an ex-pageant star who is attempting to navigate the world without tiaras. Joining Alice on this horrific journey is Izzi (Sonora Hills), who has her own personal demons eating away at her. Their joining fears over judgement soon escalate and together they must survive a terrifying night of self discovery.

Foresight (Directed by David Yorke)

Foresight is one of the most impressive one minute films you will ever see. Tessa (Rachel Lin), is cleaning out her dead grandmother’s house, ridding the years of collected clutter, however her mundane day rapidly takes a turn for the absolute worst as she discovers a cryptic wooden box holding a mysterious item that will change the course of her life forever. Foresight is a quick and witty take on sudden realisations and the horror that comes with the unknown.

2:15 (Directed by Matteo Valentini)

2:15 is a complete whirlwind, the viewer does not even catch a break for a second in this quick paced, exhilarating film following a woman who is running away from a horrific monster only to find that the real beast lies much closer to home than she thought. Matteo Valentini delivers a perplexing feat of realism through the eyes of a dreamlike world. The nightmarish 2:15 is as disturbingly horrid as it is entertaining due to the revelation of real life horrors and how unearthed trauma will eventually catch up to you.

Attached (Directed by Emre Yapici)

Attached centres on Mert (Ercan Orta), who has a history of disregarding his relationships without ever taking the blame. Passing on the consequences has worked for a while, but unbeknownst to Mert, his previous fling lies heavier than he thought. Attached is not only a visual triumph, with the gleaming camerawork showcasing Emre Yapici’s visions, but the films ‘big reveal’ is narratively blood-curdling.

Burn the Bitch (Directed by Kieran O’ Toole)

Burn the Bitch is a fantastical powerhouse that doesn’t come to play gently. We follow Rob (Joshua Diffley), who is dragged completely out of his comfort zone as he is brought to a concert. However, his unfamiliarity is soon eased as he meets his dream girl, Daria (Carlotta Morelli), a mysterious, new Italian woman. Despite their differences they strike up a caring romance, yet nothing is ever as it seems. Burn The Bitch is a visually mesmerising romantic comedy that is a clear ode to masters of the genre including those associated with Giallo cinema, such as Mario Bava and Dario Argento.

Awake in the Dream (Directed by Miles Carter)

Awake in the Dream aims to alert our senses through a deeply igniting tale of grief and haunting visions. We follow a man learning to live without his girlfriend who had an untimely death. But his journey through grief is plagued by unusual sounds and terrifying illusions of what he’s so desperate to repress. The film is alluring through its stunning cinematography and solid acting, all the whilst still following a dark and daunting tale of loss and consequences.

Sedalia (Directed by Brandon L. Pennick)

Sedalia follows Helen (Lisa Crosthwait), a newly retired costume designer who moves into a quaint farmhouse in the sleepy countryside. Country life proves to be idyllic at first, that is until a series of paranormal occurrences prompts her to investigate the home’s history and discovers a gruelling secret. Sedalia has a natural charm as the beautiful yet haunting landscape rings true to classic folk horror, but rather than rely on tropes, Brandon Pennick creates a totally unique film rife with disturbing twists and turns.

Reviews

2021 Festival Review –Student shorts part II

Post author By Film Overload
Post date September 24, 2021

An insight in to this years selection of dystopian short films, showing at this years festival 25th September 2021.

Let’s All Go to the Lobby! (Directed by Nolan Barth)

Nolan Barth’s Let’s All Go to the Lobby is a freaky, bizarre, and imaginative short horror that follows Alex (Kelley Pereira), a theater employee, and her childhood best friend who must battle against the cinema snack counter that has come to life after a cursed film is unearthed. The reanimated popcorn, candy, and sodas are a clear ode to the crazy creatures you’d see in classic B-movies, with their toothy bloody grins, and contorted limbs coming straight out of Braindead (1992), Attack of the Killer Tomatoes (1978), and Evil Dead 2 (1987). Teaming up with the stellar practical effects is the brazen balance that Barth has managed to juggle, at one point you’ll be laughing out loud and the next shrieking from the gnarly terror that takes no prisoners.

The House That Bleeds (Directed by Ben Ellis-Nicholson)

The House That Bleeds is an unexpected frightful affair that goes above and beyond the definition of creative through its innovative character and set design. When an expecting couple is left a house in a will they take this ideal opportunity to start the next chapter of their lives together. The house is a bit rundown, but nothing that a bit of paint won’t fix, little do they know that beyond the walls lies a dark, sinister secret ready to wreck bloody havoc. The story alone is enough to have audiences queuing to see it, however the true beauty of this gem is that creator Ben Ellis-Nicholson used puppets in favour of actors, creating a visual overload that still scares despite the Muppet-esque quality.

The Apparition (Directed by Trevor Hagen)

Carly (Samantha Bowes), must overcome her personal demons as she fights through her grief to conquer an evil tall entity that has been stalking her every move. Throughout the film the daunting atmosphere infiltrates every shot, with a menacing sense of dread being the focus of the horror. Trevor Hagen flaunts his obvious flair for creating a haunting tone through immersing the viewer so far into the film that the terror is inescapable. Although a clear backstory is given, much of Carly’s past is told in non-descript flashbacks, allowing the emotions to speak for themselves. The Apparition prides itself in creating an unsettling environment that disconcerts and rattles its viewer.

Psychophonic (Directed by Aline Romero)

One night during a full moon, a dainty cat walks atop a roof when it hears music coming from below. The curiosity bites and it enters the spooky home, only to be trapped. Whilst attempting to escape, the cat discovers a strange secret that the mysterious gramophone holds. Across Psychophonic a peculiar world is built, encapsulated by crooked interiors, and a dark colour palette. Furthering the whole unfamiliarity is the stop motion animation method that director Aline Romero utilises, exaggerating the quirky-horror vibe that is reminiscent of works such as Coraline (2009) and The Wolf House (2018).

The Hangman (Directed by Edoardo Magliarella)

The Hangman fixates on exactly what makes a short horror effective; potent timing, quick pacing, and a memorable ending that leaves you wanting more. Edoardo Magliarella delivers an aptly short that explores the terrors that await when you are home all alone. We focus on a student who is working late one night. After a short break a mysterious piece of paper headed with “Let’s play” appears on the table. Magliarella works by not showing every malevolent deed, instead the horror is evoked by making the evil force unseeable, ensuring that we are unaware of what the threat is going to do next…

Old Friend (Directed by Joseph Schlapsi)

Old Friend follows Ellie (Reilly Nelson) and Thomas (Joseph Schlapsi), whose relationship is tested when an old friend of Thomas’s calls asking for company. Ellie insists that she trusts him, however it’s not long until she begins wondering where he is, leading her to suspect that not everything is quite as it seems. Old Friend is purposefully misleading and convoluted, leading us to think that one thing is happening when in fact much more sinister events are bubbling under the surface. This prolonged buildup of tension is even further escalated by the lingering score and close up cinematography.

The Monster (Under the Bed) (Directed by Sammie Jo-Cunnane)

Sometimes the best horror films that really get under your skin come from the simplest ideas, take for example The Monster (Under the Bed). The film follows Luna (Alison Nicholls), a young girl who’s bedtime story reveals a harrowing secret and the horrid nightmare that derives from abuse. Although The Monster tackles an archetypal story from the forefront, underneath lies a deeply sensitive story that is not dulled down and retreated from the main narrative. Alternatively, the troubles that Luna suffers with become the face of the film, prompting the question as to who is the real monster.

Reviews

2021 Festival Review –Dystopian shorts

Post author By Film Overload
Post date September 23, 2021
No Comments on 2021 Festival Review –Dystopian shorts

An insight in to this years selection of dystopian short films, showing at this years festival 26th September 2021.

Eject (Directed by David Yorke, 2019)

Eject takes us on a dystopian journey that mirrors societal fears of unknown technology and the threat of personal discovery. We follow Kate (Elena Saurel), as she discovers that the strange rash on her arm is actually a USB port. Curiosity soon gets the better of her as she finds herself in a strange myriad where one has the chance to alter their life. Eject tackles human greed unlike any other short film. Whilst the complex narrative is enough to evoke terror on its own, David Yorke insists on amping up the story through dazzling camera work that captures an unfamiliar sense of dread and sheer terror.

Standing Woman (Directed by Tony Hipwell, 2021)

Standing Woman follows Tom (Anton Thompson), a filmmaker enlisted under the government. Across time his work has certainly affected people, and not in a good way, leading him to embark on a journey where he carries the guilt from his work as well as his sorrow over his wife’s fate. Standing Woman is challenging in the sense that we are hit with a force of empathy, enforced even further by incredibly complex character depth, especially through Tom. Creator Tony Hipwell, manages to battle social/political satire whilst creating a daunting world that borders on the terrors of eco-horror, without becoming cliche or predictable. Standing Woman is a visually stunning film that knows exactly how to capture its audience.

Safe Inside (Directed by Peter Young, 2021)

Safe Inside is an isolating thriller that uses both horror and drama to create a claustrophobic world dosed with allegories and greater fears. We follow Ethan (Maitiú McGibbon), a young boy whose only companion is his Father (Damien Lumsden). In a very cryptic style Ethan’s Father only speaks of terror in the outside world, manipulating Ethan into believing that his indoor seclusion is for his benefit and safety. However, after sneaking out Ethan realised everything is not as it seems. Immediately Safe Inside rings similar to Room (2015) and Dogtooth (2009), but rather than emulate what we’ve already seen the film blasts an entirely unique storyline that aims to intimidate, unease, and sympathise with the viewer.

Viola (Directed by Paul W. Franklin, 2021)

Viola is a short film that knows exactly what it’s doing. Rather than tiptoeing around a terrifying story, director Paul W. Franklin goes straight for the jugular through delivery of a twisted film filled with shock, suspense, and scares. Viola follows a couple, Jo (Marian Elizabeth) and Tim (David Frias-Robles), as they embark on a romantic getaway to a rural house where they are greeted by a virtual assistant technology device known as Viola (voiced by Hilary Beaton). At first this Alexa-like machine is handy, yet as the night unravels it becomes apparent that a greater force may be occupying the house.

Fated (Directed by Jack Berry, 2021)

Beth’s (Gwyneth Rhianwen) life turns upside down when she discovers a familiar face deceased in an empty field. Fated from the first beat aims to alter the viewers sense of reality through compelling deception and a frightfully alarming narrative. With such a bold story it could be easy to rely on ‘shock-scares’, but Jack Berry manages to create a slow burner all within the three minute run time.

Tags Dead Northern, dystopian shorts, eject, fated, Horror, horror film festival, Horror Movies, horror reviews, safe inside, standing woman, viola, york

Reviews

2021 Festival Review –Student shorts Part I

Post author By Film Overload
Post date September 23, 2021
No Comments on 2021 Festival Review –Student shorts Part I

An insight in to this years selection of student short films, showing at this years festival 24th September 2021.

Chateau Sauvignon: terroir (Directed by David E. Munz-Marie)

The cleverly named Chateau Sauvignon: terroir follows Nicolas (Michael Lorz), who comes from a vintner family. He lives on the wine farm with his ailing mother and coarse father. In hopes of helping his poor mother Nicolas aims to take on an active role within the business (much to the dismay of his father), but his plan’s take a turn for the worse when two guests arrive at the farm. Although the film is a mere thirteen minutes long, what David E. Munz-Marie has managed to pack into the short time is phenomenal. In fact Chateau could easily be a feature length film, divulging into the dark history of the family. Expect to witness haunting imagery that bares the film’s soul, alongside a vividly rich story that leaves you wanting more and more.

White Witch (Directed by Harvey Loftus, 2021)

White Witch is at first reminiscent of great modern folk films, particularly that of Ben Wheatley’s filmography including Kill List (2011), but rather than overtly recreate what’s already out there, Harvey Loftus creates an original and complex piece exploring the witch trials. White Witch takes place in 1712, a time after the Islandmagee trials that plagued Northern Ireland. We see the aftermath of the trials as eight imprisoned witches are due to be released, but Malachy O’ Farrell (Adam Todd), the culprit who incarcerated these women, is getting weaker by the day, leading him to seek the help of ‘The White Witch’ (Caitlin Snowden) herself.

Moonlit Requiem (Directed by Arthur S. Edelman, 2020)

Moonlit Requiem unites igniting performances with intense cinematography to shape a unique short film that explores a story of familial labyrinths and fear of the unknown. We follow Jill (Angharad L. Ford), a young woman who goes on a trip to meet her husband’s family for the first time. Despite the usual discomfort that comes with meeting new people, Jill suspects that the tension has a much more sinister undertone. Moonlit Requiem plays out both visually and morally like an A24 film, and in a similar tone the film takes an unexpected route and delivers a distinctive entry into pagan horror.

The Phantom Limb (Directed by Daniel Fowlie)

The Phantom Limb is unlike any other short horror you are likely to come across. To even describe the basic plot would be a misjustice as the terror lies in the total surrealism that is prominent across the entire film. We are subjected to strange interactions between unknown characters, and are left in the dark throughout, creating a chilling atmosphere that aims to assault the senses. As an aura the film has a hint of Tetsuo: The Iron Man (1989) in its audible and visual tone, and for anyone who hasn’t seen that Japanese classic just know that it is not intended for the faint hearted. In line with this essence of absurdity is the film’s innate portrayal of the self. The Phantom Limb is questionable and disorderly, but in the best possible way.

The Unwanted Guest (Directed by Max Willocx, 2021)

The Unwanted Guest plays on genre tropes though imitating a well known tale of a woman on her own who hears strange noises, but rather than drift into a cliche, the film does the ultimate paradigm shift and turns into a terrifying ordeal. What sets The Unwanted Guest apart is the exceptionally tense build up that utilises every single second of screen time. The setting isn’t overtly unnerving, it’s well lit and is a large room, yet somehow Max Willocx creates a spine-tingling atmosphere that has you on the edge of your seat.

Night Terror (Directed by David Duke, 2021)

Clowns have long held a significant place within horror. They wear the crown for being the most ghastly and abhorrent monster, the worst of the worst. And director, David Duke knows exactly how to create a dreadfully creepy atmosphere that disturbs and startles the audience. This three minute short is an impressive independent horror right to the core, in fact it was all shot and edited on a phone, living proof that great horror is all about the passion.

Tags chateau sauvignon, Dead Northern, Horror, horror film festival, Horror Movies, horror reviews, moonlit requiem, night terror, student films, the phantom limb, the unwanted guest, white witch, york

Reviews

2021 Festival Review –Slasher shorts

Post author By Film Overload
Post date September 22, 2021

An insight in to this years selection of slasher short films, showing at this years festival 24th September 2021.

Bloodshed (Directed by Paolo Mancini & Daniel Watchorn, 2020)

Bloodshed follows Getty (Bruno Verdoni), who is mourning the death of his wife after a vicious blood disease killed her. To cope Getty turns his ‘unusual hobby shed’ into a barbaric bloody altar in order to restore balance and search for redemption. The film opens with a sinister passage from the bible, explaining that “Without the shedding of blood, there is no forgiveness of Sin.” Hebrews 9:22. The scripture lines up this anticipation that whatever we are about to witness will be memorable, remarkably dark, and effective. Promising a film soaked in dread is Paolo Mancini and Daniel Watchorn, who together have created an unbelievably suspenseful film that manages to make twelve minutes feel like a feature length exploration into denial and the betrayal of the self

Overkill (Directed by Alex Montilla, 2019)

Overkill takes a story that is familiar at its roots, a group of college students take a trip to the lake, whilst unbeknownst to them a masked killer is watching their every move. But rather than rely on tropes to escalate the film, Alex Montilla shreds any predictability through creating a hilarious, laugh out loud story. Matching the eccentric flow is the exciting and captivating cinematography that revels in exposing how creepy a lone forest setting can be.

Fat Camp (Directed by Sacha Pavlovic, 2021)

Fat Camp is a dark comedy through and through which follows a typical slasher narrative, but with plenty of twists and turns along the way. The film follows a handful of men who are attending a so-called ‘masculinity retreat’, which obviously is a disguise for a ‘fat camp’. But Instead of getting in shape and being active, they are preoccupied by the return of an ex-camper who is hungry for their lives. The whole aspect of a camp and a mysterious killer is a clear nod at genre classics, including the unforgettable Friday the 13th (1980). Rather than recycle what we’ve already seen, creator Sacha Pavlovic gives us a fresh, fun, and brutal camp slasher that goes above and beyond the norm.

Hold Your Breath (Directed By Kameron Gates & Tommy Weber, 2017)

Hold Your Breath follows Molly (Emily Sweet), a young woman who seems to have a mysterious past, but her darker days are behind her. However everything is not as it seems after a midnight swim gives her the fright of her life. Hold Your Breath is feathered with incredibly rich cinematography that boasts stunning landscapes and personal close ups, creating this entangled world, very reminiscent of The Neon Demon (2016) and Starry Eyes (2014). Combine these inspirations with surrealist elements and an attention demanding setting then you have a stand out film that lingers with the audience.

Test Footage (Directed by Doiminic Evans, 2020)

Test Footage manages to do something that many short films are unable to achieve- creating a thrilling, tense ride all in the space of 5 minutes, using just one setting, and a small cast. We follow an actor as he runs through a script with a director for a potential role. The atmosphere is already slightly daunting due to the director’s menacing attitude, but the events become much more catasphrophic as a dark secret is unraveled. Test Footage is a claustrophobic film in the sense that the viewer is positioned closely to the horror, ensuring that the terror is entirely inescapable, making Test Footage a disturbing exercise into the nightmarish world of the human psyche.

Backstage (Directed by Lars Janssen, 2021)

Backstage is a visual feast that takes inspiration from the 70s rock and roll scene, followed by keen performances, lurid lighting, and a solid thrilling narrative. The film follows Margot (Charlotte Dawn Potter), as she searches for her best friend who went missing the same night as they met an acclaimed rock star. Across the entirety of the film we are not given a moment to breathe, with the ‘full throttle’ essence being truly exercised, but that’s not to say that Backstage doesn’t take its time in developing a shocking tale of deceit, outlandish characterisation, and unforgettable imagery.

Tags backstage, bloodshed, Dead Northern, fat camp, hold your breath, Horror, horror film festival, Horror Movies, horror reviews, overkill, short films, slasher, test footage, york

Reviews

2021 Festival Review – Brain Freeze

Post author By Film Overload
Post date September 20, 2021
No Comments on 2021 Festival Review – Brain Freeze

Peacock Island from the outset is drowning in its own lavishness, with grand houses and expensive (probably self-driving) cars lining the streets of this exclusive land of the side of Quebec. Money is no issue here, meaning that the regulars’ hobbies mainly include visiting the private golf club. However, with Canada’s cold winter comes mountains of snow tarnishing the precious golf course, but lucky for them a chemical has been created which eludes nature’s constitution and melts the snow, restoring the green grounds. Unbeknownst to residents, the chemical turns the local’s into ravenous zombies.

Julien Knafo brings us this socially conscious zombie extraordinaire which uses the role of a zombie to weave through a complex vision of ostracization, the division of elitism, and the overarching sense of greed amongst society. Zombies have long been used as a tool to catalyse a weighty narrative, with White Zombie (1932) being an early example, and Train to Busan (2016) proving that modern filmmakers still use the creature as a device. Joining the allegiance alongside zombie classics is Brain Freeze, which is sure to be remembered not only for its commentary, but also its sophisticated exterior that screams to be admired.

Throughout the film we are treated to a courageous set design that mainly boasts modern lushness, but all of this ‘glam’ is only an acting backdrop which juxtaposes against the braveness and ruthlessness of the characters. We follow a typical angsty teenager, André (Iani Bédard) as he has to care for his baby sister whilst outrunning the undead. In his flight he meets Dan (Roy Dupius), a security guard who frequently works on the Island. Together they form an unlikely band of fighters who vow to do whatever is necessary to survive. Whilst André is an ‘Island native’, Dan is not, instead he simply travels over the wall for work and then retreats to his small studio apartment when the day’s work ends.

What’s typical amongst many apocalypse style films (zombie or not) is that a group of survivors will naturally come from different backgrounds, and despite their differences they all abandon their intrinsic personalities and become clones of one another. I was more than pleasantly surprised to see that Knafo did not succumb to this genre conformity and instead kept André slightly conceited even in draconian times, creating a more realistic portrayal and ensuring that the film remained interesting and refreshing.

Following the amalgamation of characters and the cultural annotation is a wicked brutality that keeps an edge on the dark humour, allowing the film to avoid coming across as just another take on Shaun of the Dead (2004). The jokes are kept dry and the atmosphere although comical at times remains threatening. One of the laughable highlights is when one of the golf club members believes that a herd of angry zombies are just a group of workers who want to unionize.

This notion of keeping the film exciting and not slapstick-based is the origin story of the virus, coupled with the imagery. Despite the infestation deriving in the golf club the zombie-chemical worms its way through the grounds and into the Island’s water system, poisoning nearly the entire population Cabin Fever style. Further negotiating this essence of the earth retaliating against its abusers (who’d rather profit than let nature run its cycle) is the sci-fi elements such as the cold tonal palettes, existential dread, and an uprising of evil creatures.

As I type and as you read, the copious topics that Knafo explores combined with the forgoing plot shifts may externally replicate a film that is too mashable, yet the changes are smoothly adapted and you become so engrossed in the fates of the characters that you end up welcoming the braveness of Knafo’s filmmaking. Brain Freeze is memorable and a warming surprise to a subgenre that needs a bit of revival every now and then.

You can check out Brain Freeze on Sunday 26th September 2021 at this years fest, tickets and details here.

Tags Brain Freeze, brain freeze review, Dead Northern, horror film festival, Horror Movies, horror reviews, Julien Knafo, york, zombie horror

Reviews

2021 Festival Review – Creature Short Films

Post author By Film Overload
Post date September 20, 2021
No Comments on 2021 Festival Review – Creature Short Films

An insight in to this years selection of creature short films, showing at this years festival 26th September 2021.

The Taxi Dead (Directed Simon Lahm, 2020)

The Taxi Dead follows Paul (David Zimmerschied), who must survive a horrible night alongside his Bavrian taxi driver Karl (Manuel Renken), as they join forces to battle against the great undead. Bringing us this gruesome zombie short is Simon Lahm who clearly knows a thing or two about creating a stellar creature feature. The Taxi Dead explores an area of zombie cinema that is crying out for more attention; the fact that the zombies are these gruelling beasts hungry for flesh is obviously terrifying, but when you combine this with the notion that mere hours before their ‘transformation’ they were normal human beings is entirely sinister. The film focuses on this idea that we are all monsters deep down. The Taxi Dead is unmissable and definitely a short film to be remembered.

Monsters Aren’t Real (Directed by Kristina Moschella, 2021)

We accompany Ebony (Michelle Randall) as she investigates a strange noise coming from inside her home, little do we know that much greater terror lies ahead. Monsters are children’s worst nightmare during childhood, with many having memories of checking under the bed and in the wardrobe to make sure that no ghouls crept in these crevices during playtime. Although we grow out of it, the idea of being alone with some macabre creature is still terrifying, and that’s what makes Kristina Moschella’s ‘Monsters Aren’t Real’ so spooky and reminiscent of good old fashioned horror.

Posted No Hunting (Directed by Alisa Stern, 2021)

Posted No Hunting is a bewildering, creepy, and disconcerting stop motion animated horror directed by Alisa Stern (also known as The Doctor Puppet creator). The film runs quickly with its runtime just hitting under the 3 minute mark, but do not be fooled as Posted No Hunting works alongside the quick pacing to deliver a purposefully questionable narrative consisting of a deer and a disturbing creature. Furthering Stern’s innovativeness is the ‘found footage’ technique in which the film is presented in, allowing for plenty of up close shots and fuzzy camera work that distorts and disturbs.

For Sale (Directed by Francesco Gabriele, 2020)

For Sale is a perfect example of a film that begins one way and ends up completely different, ensuring that we are kept in the dark and unsure of what to expect. The cryptic For Sale follows Carla (Octavia Gilmore), and Luca (Nicolas Vaporidis), a young couple who can’t keep their hands off one another, but their blissful relationship harbours a dark secret that bursts when they pick up a second hand tv from the mysterious Mr. Levi (Randall Paul). For Sale works through repositioning the horror from multiple angles throughout. The couple and the setting itself is suspicious, but then Mr. Levi also has his unusual quirks. Director Francesco Gabriele compliments these changing horror tones throughout the film by juxtaposing a picturesque rural setting of a quaint Italian town that is also drastically abandoned despite its appeal. Due to this we immediately sense a danger within the isolation, leaving us impatiently waiting to see how and why Carla and Luca might be in over their heads, despite the forewarnings and our intuition we are still shocked when the true terror is unveiled.

Doggers (Directed by Rory Hern, 2021)

Doggers is a film that aims to take you by surprise through masking its true intentions throughout. The film follows Sam (Daniel Davids) and Raimi (Kane Surry), who are seeking to spice up their love life, but uncover something much more threatening. Doggers takes what you know about horror and twists your expectations. We’ve seen a private meetup between two people in a dark and ominous carpark, and we’ve seen how wrong it can all go, but Rory Hern (director) ensures that the film is the complete opposite of predictable. Hern delivers a fresh take on a classic narrative, allowing for optimal scares that come completely out of the blue. Adding to the unexpectedness of the film is the surprising amount of brutality that Hern has managed to pack into a six minute film, certainly expect to be shocked and scared at this epic tale.

Clamps (Directed by Zachary T. Scott, 2016)

Clamps focuses on a town that is terrorized by killer clamps, to save the day a girl next door, a scientist, and the chief of police is enlisted, but can they stop the clamps before they fully take over. With a plot so ludicrous it would be easy for the film to get lost within its own madness, yet creator Zachary T. Scott tackles the chaos through juggling the humour and the horror. Clamps takes aim at reviving classic B-movie horror where just about anything can be the villain, and nearly anything goes. To achieve something that makes you chuckle as well as grosses you out all within six minutes is immense, making Clamps a standout short film.

Dead End (Directed by Jack Shillingford, 2020)

Dead End follows Tyler (Steven Blades), as he takes a nighttime drive through rural woodlands, but looming in the territory is something with sinister intentions. Jack Shillingford knows exactly how to amp up the fear factor through utilizing an isolated setting, making you feel just as alone and lost in the situation as Tyler. Implementing the film’s neo-folk vibes is the remarkable creature design that lives up to the poster’s beastly visuals. But above and beyond all of the effects and scares, possibly the most impressive aspect is how such a contained film with just one lead manages to convey a story that is totally worthy of an entire feature film.

Her Release (Directed by Valentine Miele, 2021)

Her Release is genuinely unlike anything you would expect. The eclectic story shows a woman after love who lets herself get completely lost within the moment. Whilst the absurdist quality is undeniably grained throughout the entire short, the real admirable factor is how director Valentine Miele presents the surreal elements. Generating a weird and wonderful narrative is obviously a talent, but to make the actual film work so well is truly impressive. Her Release is a beautifully monstrous film that is not to be missed.

Wich (Directed by Anthony R. Williams, 2021)

Wich is everything that a short creature film should be, dark, slightly humorous, and more importantly able to pack a quick punch within a minute’s notice. The film starts out rather mundane with a husband and wife (Aaron Christensen and Michelle Courvais) going about their morning routine by playing crosswords and making coffee, but their ordinary morning soon turns into a beastly horror story when they discover something alarming in their fridge. Creator Anthony R. Williams knows how to play out a comedy horror narrative, with the sporadic change of events coming in at perfect timing, alongside the impressive effects that ensures that Wich remains just the perfect amount of creepy.

Tags creature shorts, Dead Northern, horror film festival, horror reviews, short films, york

Curiosity Corner

Dead Serious Chat – From Our Friends At DeadHappy

Post author By The Granddad
Post date September 10, 2021

Ever wondered what you’d really like to happen when you die? There’s a deathwish for that…

If there’s one lesson to be learned from watching thousands of horror films is that those characters could really do with some life insurance. Flesh eating zombies, vengeful birds, xenomorphs bursting out of chests… they don’t have it easy.

And although we are very unlikely to die in one of those elaborate ways, there are even worse horrors to be had… like being buried in a scratchy sweater or Barbie Girl blasting out of the speakers as your final goodbye.

Life: 100% mortality rate

… Unless you’re known as ‘She-Who-Must-Be-Obeyed’ (no, your wife is most likely NOT immortal but good question!) or have ways of brewing an elixir of immortality, chances are you’re not going to live forever. Yet, despite this over 80% of people have nothing written down about their deathwishes. It’s sad to think four in every five ghosts will leave their own
funerals in disgust. We’re not prepared to sit around and let this happen.

Happy ghosts all around

The DeadHappy deathwish option allows you to express exactly what you want to happen when you die and weave those wishes into your life insurance policy – whether it’s sending your mates on a paranormal expedition, throwing a Halloween themed wake, or leaving
some money to pay off that mortgage. That way you family knows exactly what to do with your payout and you move into the afterlife as a happy ghost.

And just imagine how many vengeful ghost hauntings could be avoided if we all left things exactly as we want to!

Get me covered

*Zombies, vampires and other members of the not alive, ever living club need not apply.

Tags dead happy, Dead Northern, deadhappy, deathwish, deathwishe, horror film festival, life insurance

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