Tag: Dead Northern

Categories
Reviews

2021 Festival Review – Creature Short Films

creature

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)

Alisa Stern (@TheDoctorPuppet) | Twitter

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 (Short 2020) - IMDb

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 (Short 2016) - IMDb

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 (Short) - IMDb

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 - FilmFreeway

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 (Short 2021) - IMDb

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. 

Categories
Curiosity Corner

Dead Serious Chat – From Our Friends At DeadHappy

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.

Categories
Reviews

2021 Festival Review – Thriller shorts

dead northern thriller shorts

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

Upstairs (Phillip Trow, 2020) 

Upstairs is reminiscent of those awkward family dinners where the mere idea of meeting your spouse’s family sends shivers down your spine, but in the world of Upstairs the unpleasantness is turned up by quite a few notches as we follow the Saint family, comprised of matriarch Shirley (Heather Coombs), and her children Caroline (Yolanda Kettle), Jennifer (Sorcha Groundsell), and James (Luke Newberry). However, their family woes are far from mundane as the arrival of Caroline’s partner Tim (Iain De Caestecker),unravels a damning secret, bearing the true insanity that lies within the Saint’s walls. Upstairs forgoes conventionality as director Phillip Trow opts to present the sheer horror through creating a tense atmospheric tone, highlighted through a daunting environment and well written characters. 

Left Alone in the Snow (Rickey Bird Jr., 2021) 

We follow screenplay writer Lilly (Chelsea Newman), as she retreats to a secluded cabin in the snow, but as strange events begin to occur she must find a way to make it out alive. Being stranded all alone in a snowstorm is eerie enough, but imagine not being able to shake the feeling that your creepy neighbour is taking advantage of your solidarity.  Left Alone in the Snow knows exactly how to play with your fears as filmmaker Rickey Bird Jr. pays homage to classic home invasion/revenge films such as I Spit on Your Grave (Meir Zarchi, 1978) and Black Christmas (Bob Clark, 1974) to create a tense and thrilling winter’s tale. The micro-budget short does an excellent job at creating a gripping buildup that packs a rip roaring punch by the end. 

Parting Frenzy (Ry Williams, 2021) 

Ryan Freda takes us on a twisted journey of the consequences of betrayal as we watch the breakdown of the relationship between Cate (Nicki Davy) and Lee (Kaya Moore). In true horror form we do not know who to side with or even what to believe as Freda superbly deceives us throughout. Parting Frenzy manages to tackle a traditional narrative in a new and exciting light through using its secluded setting to amplify the threat level, all the whilst generating a character study that is worthy of a feature length film. 

Koreatown Ghost Story (Minsun Park & Teddy Tenenbaum, 2021) 

Koreatown Ghost Story follows Mrs. Moon (played by the iconic Margaret Cho), an eccentric woman who finds herself in the company of Hannah (Lyrica Okano). Their somewhat normal-ish encounter soon takes a turn for the worse as Mrs. Moon hatches a sinister plan to bring her son Edward (Brandon Halvorsen) and Hannah together. The underlying supernatural elements to the film is just one way in which a terrifying atmosphere is conjured as the true terror lies within the twisted story that plays out with complete cinematic eloquence. The true advantage of the film lies within its secrecy, but just know that this epic short is not here to play, instead Koreatown Ghost Story positions itself amongst the absolute best. 

Categories
Reviews

2021 Festival Review – Burnt Portraits

burnt portraits

Leo X. Robertson has a keen eye for the obscure, with his focus dwelling on the oddities of society, particularly seen in his book Unfortunates (2021) which chronicles eight short and sadistic stories. Robertson’s second feature film Burnt Portraits captures his most exciting project to date as we are thrown into a dark and twisted world permeated with disguises, suspicions, and horrid truths.

Burnt Portraits follows a popular singer (Sam Crichton), whose naivety lands him in deep trouble as he finds himself in the company of a slightly unusual artist in his dim studio (also played by Robertson). Once ‘Singer’ awakens he quickly hits it off with the artist, forming an unexpected bond despite their differences. However, it’s not long until Singer’s trustiness sneaks up on him as sinister chaos begins to erupt… 

Throughout the film you are left unchaperoned as the ‘who, what, when, and where’ remains principally anonymous, and although it may be second nature to surrender to conventionality Robertson takes the long way round and makes us work for the answers. As aforementioned, Singer ends up forming a brief kinship with the Artist.

As their mutual knowledge of one another grows we too get comfortable in their presence, meaning that when the film does a 180 it hits us as quite a shock. Although Robertson takes time in unveiling the film’s catalyst the slowburn route is certainly worthwhile. What facilitates Burnt Portraits lingering disentanglement is the stylistic rejection of coloured film in favour of using black and white. Through foregoing the modern tradition of colour imagery the environment becomes stark and casted in dark shadows, ensuring that the film leaves a visual mark upon its viewer. 

Backing Burnt Portraits melancholic undertone is the isolating narrative that jolts a sense of unease throughout the 99 minute run time. The story takes place in one setting (albeit a large setting), an art studio. But despite the presence of the pair it still feels entirely abandoned and neglected. When we are introduced to Singer the room is somewhat lonely and dark, but the Artist soon turns on the lights. Rather than relaxing in the brightness I found the illumination unwelcoming, as if whatever is ‘out there’ can see even easier, an idle trap. But that’s the beauty of Burnt Portraits, besides the detailed character depth and the progression of the intensity, one of the most harrowing moments relies upon the unknowingness of the situation. 

Burnt Portraits is even more noble when you take into account its small crew and budget, even the set itself was offered up by Crichton’s mother who thought that the basement to her art studio set the perfect scene for a horror film (she was definitely right!). The film is a clear labour of love and its independent background is a great entry into indie-horror. 

Whilst Roberston is just one of the many exciting up-and-coming creators in the field, his unique portrayal of harrowing horror is hauntingly impressive, and I for one hope to see more of his horrific visions make it onto the screen. 

You can check out the world premiere of Burnt Portraits on Friday 24th September 2021 at this years fest, tickets and details here.

Categories
Reviews

2021 Festival Review – Censor

censor review

Transcending into a cathartic chaos is Prano Bailey-Bond’s Censor, a tragically stunning yet deceitful enigma that allures as much as it challenges and repels. Birthing Censor’s righteous battle of truth and fiction is a closely confined trip of what grief can manifest and how our own senses and thoughts can be a source of both protection and betrayal. 

Censor is positioned at a dreadfully treacherous era for cinema during the ‘video nasty’ epidemic which saw a nationwide moral panic erupt when home video was introduced. Headlines boasting about moral corruption and the translation of violence on screen would commonly feature on every news outlet, brainwashing the public into a state of malleability, forcing the government to create the Video Recordings Act (1984).

With the film bans, fines, and prosecutions also came an entitlement that meant that the BBFC had a ‘duty of care’, allowing film censors near ultimate control.

Censor uses this history as a walkway for the true narrative to run. We witness Enid (Niamh Algar), a tightly wound film classifier slowly slip into a state of hysterical paranoia after becoming entranced by a film directed by the absent Frederick North (Adrian Schiller) titled ‘Don’t Go in the Church’. Enid immediately links the disturbing film to the mysterious disappearance of her sister, sending her into an entwined matrix of instability, obsession, and turmoil. 

Enid’s demeanour is strong as she continuously likens her profession to the job of a “protector”, guarding the innocent from the obscene. Her unyielding attitude sits authortainly with her, despite the fact that there is a hinted notion that her co-workers idly embroider her as an over disciplined conformist as they happily ask her to type up their notes and have no trouble in a bit of break-room gossip regarding her conduct. Forming from this is an awareness of her isolation. 

It is made clear that since her sister’s disappearance she has been a lone rider whose evening routine is a solo walk home followed by a crossword. Enid may specialise in watching absurd material, but her personal life is blank.

For me this is what was one of the most brewing & unnerving aspects of Censor. The preconception of Enid being the ‘odd-one-out’ at work accompanied by her lonely habitat made her descent into this rabbit hole entirely chilling. It’s this drastic shift from a dull existence to a frenzied nightmare that took me by surprise as there is no comfort, even before the terror starts. During her solarity I kept waiting for something to jump out from behind the couch or for a ghostly shadow to walk past startling the silence, but Bailey-Bond refuses to give us that relief. Instead she forces you to feel alone like Enid, and sit and steam in the unknown. 

Joining this impending dread found in loneliness is the implication of harm from your surroundings. The video nasty panic surged like wildfire amongst the British public, in essence the ludicrousness overshadowed the genuinity of the threat. What resulted from this was a generalised phobia over videos. Bailey-Bond imitates this supposed ‘hazard’ in a joviant yet serious manner through associating the mechanics of a video itself with horror. Multiple shots are shown of a blank tv screen illuminated by that familiar fuzz, accompanying these visuals is a starkly dark sound of muted terror, alongside a fearful expression coming from Enid. Continuing this mimicry is the various tones of blue and red and static overlays which are commonly featured throughout the film’s most harrowing scenes. 

Censor bravely stares back at you, valiantly questioning the audience’s morals. We side with Enid, but should we? And like a blistering volcano waiting to burst, Censor tiptoes around our expectations to create a threat level where we are more frightened about what is not shown than what is. 

You can check out Censor on Friday 24th September 2021 at this years fest, tickets and details here.

Also check our article on ‘Video Nasties‘ from earlier in the year here.

Categories
Reviews

2021 Festival Review – The August Club

the august club



The August Club is everything you could want in a comedy horror all wrapped up with innovative character designs, excellent theming, and a creative design. Taking us on this Goosebumps-esque journey is the timid Noah (James Grainger), and the boisterous Jack (Lucas Byrne) who have no other choice but to form an unlikely friendship after a detention at the beginning of summer ends up with them being bullied into visiting a creepy old house that is rumoured to be haunted by a ghastly vampire known as Count Varias (David Lavery). 

The August Club is the definition of a passion project as creator Daniel Richardson has built this dark imaginative journey from the ground up. The fantastical elements ring to the nostalgic tones of childhood adventures. Within minutes you’ll be transported back in time to the easier days where telling a creepy story at a sleepover would leave shivers down your spine for days; and this is exactly what Richardson brings back to life, a sense of simplicity within horror. You don’t need buckets of blood and guts to be spooked, instead a good old ‘bump in the night’ story is all that is needed. 

Allowing this exciting tale to come to life is the setting, character backstory, mood, and tone. The film is born and bred in the North East of England, with the Yorkshire setting casting a gloomy grey skyline over Count Varias’s grim manor, generating a daunting thematic impression. Continuing this fabrication of horror-filled doom is the ominous vampire lair that is caked in horror iconography, with plenty of cobwebs, chains, skulls, and an intimidatingly large coffin hosting the Count himself.

This ‘haunted setting is a drastic world apart from Jack and Noah’s ordinary surroundings, which is rife with a realist undertone. Richardson isn’t afraid to dive into Jack and Noah’s background. Jack bears a brave personality where nothing scares him, but the thought of him returning home to his reckless family terrifies him. Whereas Noah is over-sheltered to the point that he has no friends and spends his days alone. 

The August Club is a must watch that will have you laughing one minute and then amazed by the horror the next! 

You can check out The August Club on Saturday 25th September 2021 at this years fest, tickets and details here.

Categories
Reviews

2021 Festival Review- Wyvern Hill


Entwining a rich story of loss, both through the self and otherwise is Wyvern Hill, a haunting analogy of what it means to be astray in a world of uncertainty. Manifesting the film’s harrowing expressions is director Jonathan Zaurin, and writer Keith Temple. Together Temple and Zaurin leave a lingering mark on the traditional haunted house narrative. But, do not be fooled, although Wyvern Hill may invest in the exterior of an archetypal ghost story, what lies beneath the surface is a dispiriting feast of bodily betrayal and a disjointed sense of reality.

We follow Beth (Pat Garett), an older woman who is exhibiting the early signs of Alzheimer’s. Her daughter Jess (Ellie Jeffreys), and son in law Connor (Pete Bird) have a difficult time trying to accept Beth’s fate as she is all one her own. To combat the ‘inevitable’ they purchase an old country house on Wyvern Hill so that they can ensure comfort in her darkest days. However, instead of settling comfortably Beth begins to experience strange visions of an unknown past. 

Wyvern Hill sways in and out of what we can perceive as reality. Cinema (particularly horror) that is brave enough to grip onto mental decay as its catalyst generally uses a sense of familiarity and reality as a contrast; when one suffers with Alzhermers they may experience confusion over time and place as well as a loss of their own past and present memories. On screen this diffusion of the self typically portrays the false memories and confusion as clear cut, there is no doubt that what we see is simply a figment of the individual imagination, however Zaurin refuses to create an easy path for us. Beth’s ‘false’ perceptions are not easily distinguishable, instead we are lost whilst watching. There is nothing that we can trust, creating a vicious sense of agitation and anxiety. 

Furthering this terrifying perplexity is the exploration of the films’ joining’ subplot. Wyvern Hill somehow manages to create an idyllic marriage of a haunting tale of isolating identity and a gory slasher with a tastefully bloody ambience. The film is not emotionally chronological as it relishes in juxtaposing a sanity-exploring narrative with a dishevelled festival of carnage. This revelation is best left as a surprise, so I’ll spare the plot spoilers, but be prepared for a ferocious parade of the abyss, particularly shown in the opening scene.

Within minutes we are shown a masked assailant prodding at a lifeless body and lifting it up like a puppet on a string, whilst slimy maggots squirm around leftover body parts. The imagery is not only a visceral shock, but also a tortuous insight warning us that this is no ordinary film. Before you ponder over the amalgamation of themes, know that this slasher-esque essence fits in with the rural drama elements like a perfect puzzle. 

Zaurin’s purposeful trickery is one of the film’s most creditable elements that I have yet to see in any other film, there is no spoon-feeding, we are on our own. Wyvern Hill is a feast for the senses, cementing its statue as a film to be remembered. 

You can check out the world premiere of Wyvern Hill on Friday 24th September 2021 at this years fest, tickets and details here.

Categories
Reviews

2021 Festival Review – From Dusk Till Dawn (25 Year Anniversary)

from dusk till dawn

(Warning some spoilers ahead!)

Hellbent on mashing the barbarism of westerns with the seductive appeal of vampires, topped with a slew of brutal action and profanity is Robert Rodriguez’s 1996 superb horror film ‘From Dusk Till Dawn’. 

In the wake of a heist with multiple deaths, fugitives Seth Gecko (George Clooney) and his brother Richie Gecko (Quentin Tarantino) further their crime spree as they take Jacob Fuller (Harvey Keitel) and his two teenage children hostage to help them over the border to Mexico to escape from their misdeeds. But their quick stop at a truckers bar turns into bloody carnage as the bar is riddled with thirsty vampires.

From Dusk Till Dawn [25 Year Retrospective]: Okay Vampire Killers… - Bombshells & Blueshells

From Dusk Till Dawn has taken center stage in the 1990s horror scene ever since its release, partly due to the top tier casting. Featuring is an ample level of star power as we see Danny Trejo, Fred Williamson, John Saxon, Juliette Lewis, and special effect royalty Tom Savini join Clooney, Keitel, and Tarantino.

Cult Film Reviews: From Dusk till Dawn

The film plays out as two acts. The first half is a tense action-thriller with guns and reckless thieves fuelling the narrative. Seth smoothly portrays the ‘good-guy-bad-guy’ role, with his villainous actions being pushed to one side as his slight moralistic touch puts him in our good books. Whereas Richie is a nihilistic psychopath with perverted tendencies. Coupling the rogue brothers’ feisty persona’s is the quintessential conventions that action films relish in, including quick pacing, power divides, and deadpan humour. 

It’s evident that the witty dialogue and lack of sensitivity is due to Tarantino’s input as the screenplay writer, but what strikes a cord the most throughout this purposefully misleading first half is its necessity and importance. The film manages to do the impossible as it brews a slow build up, taking its time to generate a familiarity with the characters, almost forcing us into submission where we just have to carry on watching to find out who stays alive. With the foreboding story delaying a release we sort of relax, allowing Rodriguez to pull the rug out from underneath us and shock us with a sexually amped world of slaughter. 

We become comfortable in what we know, thus when the vampires attack it’s quite a shock to the system. However, instead of being confused and put off by the sudden change we revel in the delight of nonsensical violence. 

From Dusk Till Dawn (1996) Review |BasementRejects

Granting From Dusk Till Dawn’s fluidity from action to horror is a combination of eccentric characterisation and the outlandish setting, which is indisputably a feast for the eyes. After the Gecko’s and Fuller’s reach Mexico they reach their final stop before freedom as they plan to meet a contact that will take them to a hidden fugitive hideout. However, the aptly named “Titty-Twister” doesn’t just house drunken dirty men ogling over the bar’s strippers, but also a coven of lusty vampires. Rodriguez didn’t just name the bar crudely for a quick giggle, the dive’ truly wallows in titillating essences, particularly through the erotic dancing and bawdy egos of the bikers in attendance. 

Movie Review: From Dusk Till Dawn (1996) | Movierdo

Vampires naturally exude a bodily charm that both fascinate and repel. From Dusk Till Dawn understands this power and uses it as a comical guise to accelerate the action. After watching Santanico (Salma Hayek) perform, the tantalisation reaches a peak, but within minutes the gawking crowd are ripped to shreds as the vampires transform into frightful reptile-like beasts baring their fangs and feasting on whoever they please. Similarly to the disturbance of the genre change half-way through, the sudden vampire attack on the mere mortals proves that Rodriguez is not here to play.

The Horror Digest: From Dusk Till Dawn: A Titty Twister Sounds Scary

The erupting second half explicitly displays as much gratuitous violence as possible (the film was even banned in Ireland for eight years!). Decapitations, impalements, stabbings, shootings, and bodies being set on fire are just some of the film’s most lawless moments. Inducing the B-movie aesthetic even further is the quasi neo-western elements that prove the unruliness of the film’s ambience, such as violent gang mentality, border crossing, bar fights, dusty tonal palettes, and vast desert settings. Rather than this mashup of themes becoming excessive, it simply adds to the chaos and sheer pandemonium that is From Dusk Till Dawn. 

From Dusk Till Dawn (1996)

The constant switching of events encompassed by an abundance of splatter and violence is not only cinematically impressive, but also a wild take on the typical creature feature that you are sure to not forget…

We’ll be screening From Dusk Till Dawn on Saturday 25th September 2021 at this years fest, tickets and details here.

Categories
Reviews

2021 Festival Review- Red Snow

Red Snow

Sean Nichols Lynch brings us Red Snow, a genre bending vampire film that crumples the conventions of the genre through purposeful deception and dismantling everything you thought you knew about vampires.

Red Snow (2021) - IMDb

Taking us on the journey is Olivia Romo (Dennice Cisneros), a struggling vampire romance novelist who is all alone on Christmas at her family’s cozy cabin by Lake Tahoe. Her loneliness at the supposed ‘happiest time of the year’ takes a hopeful turn as she finds herself in the company of Luke (Nico Bellamy), a real life vampire. Although her dreams have come true she must now battle with mistrust and the looming consequences…

Although it would be easy for Red Snow to develop into another archetypal holiday romance, accompanied by immortals, Lynch disavows any soppiness in favour of pushing a rich and introspective narrative that only furthers the incredibly dimensional characters. Olivia and Luke are rounded, their bond as ostracised people is inexplicably computed as their chemistry burns bright throughout. The pair’s kinship is warming without overshadowing their own individual personalities as their sole personas propel a certain air of charm that forces the viewer into a sympathetic position. 

This image has an empty alt attribute; its file name is red-snow-movie-film-horror-vampires-2021-review-reviews.jpg

That’s not to say that sentiment dominates, as Luke and the rest of the vampire coven are undeniably capable of creating unease. The vampires that exist within the world of Red Snow are vicious, unnerving, and spine-tingling, but what truly furthers their ruthlessness is an apt humanness that Lynch bravely anchors onto. 

A key plot motivation is how Olivia’s failing book relies too much on vampire tropes, and with Luke’s assistance she uncovers that these creatures can identify with the excitements and trials just as much as mundane humans can. And it’s this relatability where the film’s horror stems from- they know that their savageness is wrong but they persist in continuing their frightening lifestyle. It’s this precise reason as to why Red Snow lingers with me, the budding bond between Luke and Olivia is admirable, but Lynch toys with what we know and expect to see in a vampire film, diminishing any predictability. 

Ensuring that Red Snow evokes an emotive response are the performances by both Bellamy and Cisneros who beyond a shadow of doubt create an immersive experience. Olivia isn’t drawn as a vampire-fangirl dreaming of someone sweeping her off her feet, instead she’s not unfamiliar to insecurities and is grounded in reality. Similarly to Luke, although he is presented with that classic bad boy charm, his sensitivity gradually comes to light. Lynch boldly bares the heart of the film whilst not slumping the threat. 

Red Snow challenges what we know as the distinctive vampire chronicle, however, it still uses some genre highlights but in a more innovative form. Fairly on we are introduced to Julius King (Vernon Wells), an infamous vampire hunter part of a much larger group known as The Severon Group. Wells has already cemented his reputation within cinema through his roles in Mad Max 2: The Road Warrior (1981) and Weird Science (1985), which highlights his dramatic knack for eccentricity, with Red Snow being no exception to his flair as the role of Julius King is what drops the tension in the first place and makes us second guess Luke’s true intentions.  

The fleshed out story is not the only factor worthy of praise as the marriage between the setting and the overall aesthetic harmonises together to form a visual banquet. Olivia’s fondness for the macabre at Christmas time did make me chuckle, joining the shining baubles on the tree is vampire fang decorations and instead of wearing snowman holiday jumpers she dons Nosferatu T-shirts, a girl after my own heart. Red Snow completely took me by surprise every step of the way, cementing itself as a solid entry into both vampire and holiday horror.

You can check out Red Snow on Saturday 25th September 2021 at this years fest, tickets and details here.

Categories
News

This week in horror: 15.08.21

dead northern news

Host director Rob Savage unveils details about new film with Blumhouse Productions


Host was certainly the most talked about film of last year, with its soaring reputation going down in horror history. Rob Savage’s feature debut soon gained buzz amongst major production companies, particularly Blumhouse Productions. When news broke last year that Savage had set up a three film deal with Blumhouse everyone was more than excited to learn more about this upcoming hit, especially since he joins forces yet again with Host writer’s Gemma Hurley and Jed Shepherd!

Although the details have been kept very much underwraps, it has been revealed that the title of his second feature is Dashcam. Based on the sneak preview image, Dashcam is presumably conveyed as vehicle dashcam footage. The innovative filming technique is very similar to the desktop method used in Host, but this isn’t where the similarities stop as Dashcam is kept short and sweet with the length only totalling 77 minutes. 

Dashcam is set to premiere at the Toronto International Film Festival this year. 

Head Count’s Elle Callahan brings us ‘Witch Hunt’’ 

Head Count was one of the most surprising horror’s to come out of 2018. The looming atmosphere coupled with impeccable performances, and tense thrills quickly gained buzz within the horror community. Now, the mind behind Head Count, Elle Callahan delivers another soon to be success ominously titled ‘Witch Hunt’. The film follows Claire (Gideon Adlon), and her family who help fleeing women across the border to seek asylum in Mexico.

However their operation meets a bitter halt when they are stopped by witch hunters. The reviews have definitely aired on the positive side with Callahan cementing a strong reputation as a young horror auteur. Audiences can now get a taste of the action as Witch Hunt will be released via video-on-demand on the 1st October, in perfect time for those Halloween movie marathons. 

The latest ‘Scream’ earns itself an R-rating 

Scream 5 has been the talk of the horror scene ever since its production began in early 2020. The return of Ghostface is getting closer and closer as it is scheduled for release in early January 2022, however, the question lingering on everyone’s minds has surrounded whether or not Scream 5 will carry on the series reputation of getting an R rating? Our questions have finally been answered as Scream producer Chad Villella has revealed that the fifth installment will be as gory as it gets. 

Filming on Chucky wraps

Everyone’s favorite maniacal doll Chucky will be back later this Halloween as the upcoming Child’s Play TV series ‘Chucky’ has finished filming. The series will go back to the earlier days of the franchise as Jennifer Tilly reprises her role as Tiffany, Chucky’s devilishly dark companion. Whilst the return to what made Chucky so iconic has been welcomed by fans, the show will also dive into uncharted territory as the episodes will take a focus on Chucky’s unexplored backstory. 

Chucky will premiere on October 12th on SYFY.

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