Jamie Lancaster (Lyndsey Craine) stands bloodied, wielding a chainsaw, surrounded by the gory remains of her friends, before Britain’s take on Gale Weathers enters the frame describing the treacherous crime scene as Jamie is escorted away by police. However, this conclusion is far from over as we learn what really happened that one fateful night, as Jamie joins forces at the station with crooks and officers to fight off a motley crew of bloodthirsty brutes.
Stewart Sparke’s How to Kill Monsters is a genre busting exploration into monstrous frights as the film takes on a slew of creatures, fanged beasts, and evil mogwai-like savages. Combine this with the throwback vibes to classic 1980s horror that we all know and love (Gremlins, The Thing and Evil Dead 2 to name a few), How to Kill Monsters is a bona-fide must-see for any thrill seeker desperate for a bloodied, hilarious dash of monster madness.
Taking centre stage is the immense practical effects that would make the likes of Tom Savini proud as each and every inch of the lovecraft-esque creatures are made with old school tender, love and carnage as Sparke utilises specially crafted miniatures and meticulously crafted puppetry to bring the entire film to life.
Complimenting the immersive visuals is the fantastic performances from all, with each character adding an individual flair to the story. Special praise has to be applied to the one and only Jamie Lancaster, played by Britain’s own scream queen, Lyndsey Craine. Sparke and Craine have been collaborating for years, with a particular mention owed to the award winning splatter fest, Book of Monsters(2018). With the duo growing together as creative minds over the years, How to Kill Monsters is a bespoke feature with story beats that feels incredibly natural and despite the fanasticallity.
Seconding the warmth that the film emits is the quick witted self-reflexivity that runs concurrently with the narrative. Each scene is basked in laugh out loud meta-humour that makes for an entertaining ride from start to finish, with the jokes-a-minute approach giving the likes of Scream, The Cabin in the Woods and Return to Horror High a run for their money.
How to Kill Monsters is a must-see tale of the unexpected, with every act bashing apart any form of predictability, ultimately making for one hell of a gnarly ride!
Check out the full festival programme and get your tickets here!!
Have you ever watched someone run upstairs, when you know that you would have run outside? Have you yelled at the screen, because there’s a killer stalking right behind those happy campers? Do you secretly want to be in your own scary movie? Then there’s good news – because we did too.
Parable Games is proud to present to you: SHIVER – the Horror Movie Role-playing Game! Now you and your friends can find out once and for all who would survive a rampaging killer at summer camp, who would make it through the zombie apocalypse, and which one of you is most likely to use the others as bait for a hissing alien monster!
SHIVER is a tabletop role-playing game, or an “RPG” – but what does that actually mean? Well, it means that it’s a game where you play as individual characters, playing out a story created by another player – known as the Director, and the other players make up the cast of characters.
These characters are the kind you’d usually find in a horror movie: a jock, a cheerleader, an Antarctic scientist, a space marine… Whatever, wherever or whenever your story takes place, SHIVER gives you simple tools to make sure your characters fit in to your world.
“This sounds a little complicated” you might be thinking, and you’d be right. It does “sound” complicated – but it actually isn’t! Parable Games loves games (surprise-surprise), but what we love more is getting new people to play games. SHIVER is designed to be a game that you can pick up and have fun with, even if you’ve never played anything more complicated than snakes and ladders.
So, how does it work? SHIVER uses an intuitive symbol dice system, where each symbol represents a different “skill” – or to put it a different way, a different way your characters might solve problems. Solving problems with your fists? Then you’re lying on your Grit skill. Maybe you face your challenges more with your brain than your brawn? Then that’s Smarts. Different characters have different skill strengths and weaknesses based on their personality, but each of them can try anything – here’s nothing like learning a new skill when your (fictional) life is on the line!
Why not gather your friends round for a scary movie night, but this time you’re all going to be in the movie! All you need to get started is the SHIVER Core Rulebook. With this simple and easy to read guide to the dark and unknown (world of RPG rules), you’ve got all you need to get started. We have a free online digital dice roller so if you wanted to roll ‘dem bones virtually, go ahead and give it a try.
With the SHIVER Core Rulebook you can run stories anywhere from a cabin in the woods to the International Space Station, and any-when from the dawn of mankind to the space faring future. Whatever your imagination can conjure up, SHIVER can help you turn it into an interactive, spooky experience.
Of course, horror is a varied and many headed beast. We know that. That’s why we’re always working on expansions for the game – new books themed around some of our favourite horror sub-genres…
Gothic horror – with Vampires, Frankenstein’s Monster, and the Wolfman fighting supernatural horrors in Victorian London? We’ve got it covered in SHIVER Gothic.
Maybe your tastes lie less in the fantastical – maybe you’re more of a “nothing’s scarier than a guy with a knife who just… SNAPS” type. If that’s your modus operandi, then you’d need to keep an eye out for SHIVER: Slasher. A decades spanning story where the killers always come back, but the survivors aren’t guaranteed as much.
If you struggle with the hardcore violence in horror, or maybe you want a more safe way to introduce your love of the genre to sceptical friends or family – then SHIVER: Blockbuster is the answer you’re looking for. Giant Sharks, Spaceship Adventures, Ghost Pirates and Skeletal Dragons? Launch your own mega-horror-franchise with bang!
We love horror, and we love horror movies. It’s why we’re proud to sponsor Dead Northern, and why we can’t wait to be there, but most of all it’s why we made SHIVER to begin with. We wanted to play our favourite horror movies, but also make our own – and besides, how many games can you play where you actually get to kill your friends and still get to keep your friends? Not many, I’ll tell you!
Want to give SHIVER a try? You can sign up to our mailing list and receive a copy of our QuickStart version of the game!
Created in 2020, ‘Unusual Horror’ has been bringing the brutality of underground horror and metal to market, giving fans of slam, death metal and extreme horror a means to express themselves. The brainchild of someone whose two obsessions of extreme metal and horror have culminated in the creation of brutal apparel and accessories for the community.
‘Unusual Horror’ focuses on 3 main areas: Horror inspired prints, slam & death metal merchandise and underground/extreme horror licensed merchandise. Through collaborating with underground bands, directors and independent artists, you are guaranteed to get a once in a lifetime piece of merchandise. From the likes of t-shirts, hoodies and other apparel donning edgy death metal script and independently designed artworks, those in the alternative community have a new way to express themselves.
Initially starting with a handful of pieces that donned edgy prints of Nuns in illicit situations and other quintessential metal-like prints, like Baphomet at a ritual, etc, the brand has grown significantly. With popular designs such as the ‘Sisters of …’, ‘Ritualistic Offering’ and ‘GoreChrist’ being repeatedly re-printed due to high demand – the want for more extreme prints is simply growing. It appears that people in the alternative circle are sick of the tame designs from the likes of Killstar and are now hunting down these sorts of designs, which ‘Unusual Horror’ are serving up to the masses. They pride themselves in collaborating with independent artists to offer the best quality and unique pieces, which give the buyers a unique item and the artist more exposure for their work. With new designs very much on the way, ‘Unusual Horror’ fans are in for a hell of a ride with their new signature collections and not to mention new additions to the ‘Sisters of…’ collection.
On top of their signature pieces, ‘Unusual Horror’ also gives a home to those fans of extreme & underground horror; creating licensed collections of some of cinema’s most controversial titles. With titles like ‘Deathgasm’, ‘Septic’, ‘Nekromantic’ & ‘American Mary’, the store’s collection only seems to grow with each release. Boasting a huge accomplishment with their latest release, their ‘A Serbian Film’ collection is classed as the only licensed merchandise collection for the film (worldwide) and has received a huge amount of interest since its pre-order release.
‘Unusual Horror’ prides itself in collaborating with these underground and extreme film makers, to allow them to have the same type of platform that the more mainstream horrors get. Regardless of backlash from people who aren’t fans of the extreme side of horror, it appears that, thanks to ‘Unusual Horror’, the world of extreme horror is simply growing, simply due to people wearing the merchandise and boasting their interests in this type of film – something that many fans have had to suppress due to lack of representation in clothing and also the fear of judgement.
It isn’t just licensed merch that they are passionate about on the front of extreme horror, their newest venture will see them distributing new underground/extreme horrors. They have recently received the distributing rights to up and coming Italian, queer extreme horror films ‘ELDORADO’ and ‘La Perdición’ by renowned director Domiziano Cristopharo, who directed films like ‘House of Flesh Mannequins’ and ‘Xpiation’. Filmed in Gran Canaria, Director Cristopharo boasts that these films are the quintessential watch for any extreme horror fan that has an interest in queer cinema. These are aiming to be released in December 2023 with a brand new range of merchandise for each film that should tantalise any extreme horror fan.
It’s clear that ‘Unusual Horror’ doesn’t just make merchandise, but have now expanded their options by creating distribution options for underground extreme horror; a feat many small brands couldn’t accomplish. Their final pillar of interest is mainly focussed on the slam/death metal/deathcore scene; this has always been a focus for the brand, with their logo invoking similarities to a lot of death metal band logos. This passion for underground music has been a catalyst for the brand, with them creating merchandise for local and home-grown death metal bands and allowing fans to show off their favourite underground metal bands, while also letting these smaller bands have the option to promote themselves. They have created merch for bands like ‘Guttural Slug’ and ‘Devourment’, while also showcasing smaller local bands by the likes of ‘Coprocephalic Mutation’ and ‘357 Homicide’.
‘Unusual Horror’ have been at the forefront of providing good quality pieces with brutal designs that have satisfied the masses of slam and death metal fans world wide, but their efforts to preserve and support the community don’t end with merchandise creation and distribution. ‘Rancid Offal Promotions’ was set up in 2022 by a member in the scene, as a means to get these underground slam, death metal and grindcore bands on stage and touring; there was a knowledge there that there was a huge fan base, who simply didn’t have the opportunity to see these bands live.
‘Unusual Horror’ began to collaborate with the original team of RxOx, in the way of merchandising and advertising and soon was adopted under the brand after the success of their first event. Thanks to RxOx and the collaboration with ‘Unusual Horror’, underground metal has a home for live performance. Starting with their first ever festival ‘Offal Fest’ in March 2023, the event showcased bands like ‘Crepitation’ and ‘Twitch of the Death Nerve’, while also bringing over ‘Guttural Slug’ to perform ‘Megalodon’ in full.
This was a huge moment for the scene, as this was ‘Guttural Slug’s’ debut live show, with them also playing one of the most influential albums in the scene. This event was not some local affair, patrons from overseas came from the likes of America and Canada just to check out the first ever ‘Offal Fest’. Since its creation RxOx has been planning and creating more events for the community to feast their eyes on. They have many upcoming events, like ‘Goremageddon’ and ‘Cannibalising the UK’, showcasing bands like ‘Torsofuck’ and the reunion of ‘Pivorapist’. RxOx are now the heart of the community and are bringing these brutal lineups to the masses, and their reign of terror will not end, as the next ‘Offal Fest’ is looming over the horizon.
In short, ‘Unusual Horror’ is a home for those who have been ostracised because of their interests in extreme horror and music. Their space and apparel are for those who stray between the lines of brutality and extremity, who don’t wish to align with societal norms. Whether you are an extreme horror or music fan looking to showcase your favourite niche band or film, or an alternative person looking for something just a bit more heavy to wear out and about, ‘Unusual Horror’ has it all for you. This is only the beginning for them, not just merchandise wise, but also in the sense of live music and film distribution.
When you buy your first piece from this incredible small brand, you will not just be holding a piece of merchandise, you will now be a part of an ever-growing community of fans who walk to their own beat. Make sure to keep an eye on both ‘Unusual Horror’ and ‘Rancid Offal Promotions’, as you are in for a treat and don’t want to miss out on what’s coming.
Clever and socially provocative, Talk to Me is the horror breakout of not only the summer but the year. It centres around grief stricken teenager Mia (Sophie Wilde) who, along with a group of high school friends, experiments with an embalmed hand that possesses the special ability to connect with the dead and allows users to grant spirits permission to enter their bodies.
This innovative picture comes from the minds of Australian filmmakers Danny and Michael Philippou known primarily for their pioneering Youtube content on their channel RackaRacka. Talk to Me premiered at Sundance Film Festival and was rightfully an instant hit with audiences and film companies alike; the movie was picked up by infamous production and distribution company A24. Not only does Talk to Me provide a haunting yet beautiful viewing experience, it dives into the importance of identity and tackles the idea of how a horror movie would play out in the modern, digital age.
The film’s directors have spoken about how Talk to Me explores the theme of connection and how Mia, shrouded in grief from the recent loss of her mother, is yearning for a connection to anyone or anything that will make her feel something (Fandango, 2023). Though what stood out to me the most was Mia’s connection to herself; her sense of identity. As aforementioned, Mia is struggling to cope with the passing of her mother and the consequential grief that has begun to consume her. As a result we realise that a part of Mia has died along with her mother, leaving a gaping hole in her sense of self that she is desperate to fill. Enter the embalmed hand which allows one’s body and soul to be consumed by a relentless cycle of spirits.
This addictive activity works on two levels to fill the void left by Mia’s mother. Firstly, the euphoric feeling of being possessed functions like a drug, providing her with temporary relief from the hopelessness and loss that currently defines her. Secondly, the act of allowing a spirit to physically force itself inside her shows Mia’s desperation to find an identity again, even if it is not her own. Talk to Me follows Mia on her distorted and somewhat futile journey to find herself again and warns that altering your reality – using drugs or possession – cannot change the circumstances under which your identity was broken in the first place.
(ScreenRant, 2023)
Elaborating on the subject of reality, Talk to Me further examines a world in which we are perceived and scrutinised through a digital eye. We are introduced to the hand via a snapchat story in which a girl is clearly suffering at the hands of whichever spirit is coursing through her. When the camera draws back we see her distress illuminated by the light of several phone cameras, eager to document her torment. Furthermore at all the parties hosted by Joss (Chris Alosio) and Hayley (Zoe Terakes) – the current owners of the hand – every possession is filmed and made public.
This highlights the significance social media has on an individual’s reputation as, a humiliating experience with the hand would obviously bring with it an embarrassing reputation, later exhibited when Daniel (Otis Dhanji) has a turn with the hand. The film encourages viewers to realise the importance society places on a social media presence and a digital reputation; this generation is so immunised to the pain and suffering of others that they will happily record and publicise it if it promises a positive online reaction for themselves. It is only when Mia requests they use the hand outside the presence of phones and social media that the focus shifts from creating thrills and a viral video to Mia’s dependency on possession in order to feel whole again.
(BlackGirlNerds, 2023)
Talk to Me not only blurs the lines between the real world and the digital one but as the story develops we see Mia’s reality and the spirit world begin to intertwine. In between Mia’s innumerable possessions she begins to encounter spirits outside the use of the hand. Specifically she starts to see her mother who makes her question what is right and wrong and encourages her to inch further away from her own sanity.
Mia is presented with a morally impossible decision in order to save her friend with the manipulative spirit of her mother looming over her shoulder, trying to force her decision. The climax of Talk to Me is beautifully twisted as it portrays a loving mother-daughter relationship ripped apart by death and warped by grief. Here the Philippou brothers stunningly capture the fragility of the human mind and how the death of a loved one can cause our tether to reality to unravel.
Talk to Me exhibits all the shock and exhilaration ever present in Danny and Michael Philippou’s work and presents a unique ability to portray dark, mature and malevolent themes in a heartfelt and delicate way. The film emphasises a modern society’s dependence on a sense of identity established through our connections to one another and governed by how we present ourselves online.
Talk to Me sheds light on the fact that we are all one emotionally wrenching experience away from losing our grip on reality and severing all ties from our own sense of self.
10- Soundless screams (Insidious: The Last Key [2018])
Insidious: The Last Key often goes unrecognised in the grand scheme of the Insidious universe despite being the franchise’s most profitable film, meaning that many of its brilliant surprises also go overlooked. One of these potent frights showcases a fear that many of us will have experienced in some of our worst night terrors – attempting to scream, but nothing comes out. The scene shows a key-clawed demon plunging its talons into its victim’s throat, trapping their breath and brutally silencing them. The harsh effects of such a moment make us squirm at the mere thought of running out of breath in a room full of air.
9- Ultraviolet (Insidious [2010])
The first entry into the Insidious franchise remains one of the best out of the bunch, mainly due to its simple scares that build up slowly, leaving us in suspense as we sit and wait for a big jolt to the senses. This brutally slow tension is brilliantly captured in the picture-taking sequence as we follow paranormal investigator Tucker around the haunted home, looking through a UV lens to identify suspicious activity. As Tucker flicks through the lens settings, we see an ordinary hallway plain as day, that is, until two wide-eyed ghosts suddenly appear in the frame, grinning ear to ear with the most menacing smile possible. It’s a classic scare. One that takes minimal moves to enact, but the slow anticipation of knowing you are in for a fright provides the scene with maximum payoff.
8- Beware of the wardrobe (Insidious: Chapter 2 [2013])
Tin canned walkie-talkies make a terrifying comeback in Insidious: Chapter 2 as we see the Lambert brothers trying to settle after the events of the first film. Upping the nostalgia factor is the inclusion of the tried and tested closet jumpscare. A sleepy Dalton soon realises that it’s not his brother at the other end of the line, but instead a sinister voice with bad intentions. As Dalton begins to sit up in anticipation, replicating the viewer’s goosebumps, a gangly monster leaps out from the closet and bolts to the door before turning to Dalton and unleashing an almighty scream as it glares a haunting stare from its jet-black eyes. It’s a scene to behold and an instance that brings us back to our innermost fears of monsters lurking in the dark crevices of our rooms.
7- Baby monitor (Insidious)
Since their mass popularisation in the mid-1980s, baby monitors have become a pinnacle prop in cinema, with films such as The Baby’s Room (2006), Nocturnal Animals (2016) and Lullaby (2022) all utilsing the radio system as a horror instigator. In Insidious, the baby monitor tactic is used continuously to elicit big scares over small instances of time, with the strange utterances heard over the transmitter multiple times. In the beginning, each baby check ends in a fake scare, one where the spookiness is almost a hoax. However, during the third case, the camera finally reveals a pale-faced, vampiric-like, suited ghost ominously staring over the child. The baby monitor scene is an exercise in deceit, ceaselessly building up until we no longer expect a reveal of any sort, until that dreaded moment where we are taken by utter surprise.
6- Crossing the street (Insidious: Chapter 3 [2015])
Insidious: Chapter 3 is brimming with some truly underrated shocks and startles, with the ‘car crash’ scene being a prime example of the film’s ability to seize the reins and make an ordinary segment transform into a nightmare. Quinn Brenner is a troubled young girl haunted by her mother’s death. Hoping to regain a sense of normalcy, she pursues her dreams of entering a performing arts school. After a mediocre audition, she is left even more disheartened; despite that, her night is about to worsen. Crossing the street, she sees an eerie figure waving at her in a hospital gown, catching her attention in the middle of the road. Suddenly a screeching car comes into the frame, smashing into Quinn as she falls lifeless on the floor. It is one of Insidious’ more grounded scares, with the terror of an unfortunate real-life affair, with the zooming car and sudden collision with Quinn’s helpless body being somehow more terrifying than a world of ghosts and ghouls.
5- Sheet ghosts (Insidious: Chapter 2)
Joining the likes of baby monitors and closet ghouls is another quintessential genre favourite, the classic sheet ghost. The blank, expressionless demeanour that the cloaked spirits withhold provides the perfect minimalistic scare where just the visual alone is enough to send shivers up your spine. In Insidious 2, we are confronted with a ghastly team of veiled feinds, sat eerily still with their clawed, decayed hands peeking out from underneath the cloth. The image alone is the definition of nightmare fuel and is utterly unforgettable.
4- Knock-knock (Insidious: Chapter 3)
The horrifying scene begins rather innocently with Quinn gleaming from hearing her ‘neighbour-meets-crush’ knocking on her bedroom wall from the otherside. Their sweet morse code leads to Quinn texting her admirer, only for him to reveal that no one is home. The sudden realisation that the knock is coming from a sinister presence makes our stomachs drop at the pertriyfing awakening.
3- The big reveal (Insidious)
Insidious begins as a rather mundane, yet alarming, haunted house meets possession story. However, during the finale, all hell is let loose as a whole movie universe is unleashed, revealing that the paranormal happenings run further into the veins of the Lambert family than anyone could have ever imagined. Within this reveal, the Insidious franchise was birthed, with the film’s layered lore opening up within the final act.
2- Tiptoe through the Tulips (Insidious)
Many of us will be familiar with the nerve-wracking ring of Tiny Tim’s falsetto voice singing his hit ‘Tiptoe Through the Tulips’, thanks to its appearance on many creepy internet videos. However, its best use has to be in the first entry into the Insidious world, with the song playing over one of the series’ scariest moments. As Renai unpacks belongings into her new, seemingly ‘unhaunted’ home, a little boy appears in the corner of the frame dancing along to the spooky chime of horror’s scariest song.
1- The Lipstick-Faced Demon (Insidious)
It would be criminal not to include the franchise’s most iconic jumpscare in this list. While Dalton’s grandmother discusses how the demon attacking Dalton may hold a greater significance than first believed, the now-infamous ‘Lipstick-Faced Demon’ appears behind Josh with a brazen ferocity, followed by the most gut-wrenchingly loud orchestral swell. The result of the stunning score combined with the incredible graphics of the demon and the sudden hecticness of the incident makes this scene the most memorable and effective in the franchise.
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Since Charlie Brooker’s Black Mirror premiered in 2011, it has been captivating and disturbing its viewers, warning them of technology’s eerie potential. With the latest season making its premiere, here is Dead Northern’s guide on every Black Mirror episode ranked from worst to best.
27- The Waldo Moment (Season 2 – Ep. 3)
The Waldo Moment has definitely become one of the more disliked episodes. It’s not a stereotypically ‘bad’ premise, yet it fails to excite, disturb, or entertain. On its own, this tale of puppetry gone mad does intrigue, but it simply fails in comparison when standing next to the superb offerings from the rest of the show.
26- Men Against Fire (Season 3 – Ep. 5)
Men Against Fire follows the story of Stripe (Malachi Kirby), a traumatised soldier who begins to experience strange sensations that alter his perception and expose the true horror of war. This Black Mirror episode achieves the show’s will to unravel societal issues, but its incredibly bleak tone does not offer much of a rewatch factor nor immerse us as intensely as it could have.
25- San Junipero (Season 3 – Ep.4)
San Junipero is a controversial entry at number 20, an otherwise beloved show episode. It’s a clever feat showcasing the whimsical nature that hides within each one of us, always desperate to prolong the positives of life. San Junipero is heartwarming and breaking at the same time, and above all, it feels somewhat out of place against the show’s darker entries such as ‘The National Anthem’ or ‘White Bear’.
24- Metalhead (Season 4 – Ep.5)
Metalhead is often forgotten in the grand scheme of the Black Mirror world, possibly due to its potent lack of dialogue and the drawn-out storyline that would have been better suited to a runtime of under 30 minutes rather than the 41-minute runtime that it has. Despite the bleakness, the visuals are spectacular, showcasing some brilliantly crafted special effects.
23- Hang the DJ (Season 4 – Ep.4)
Surprisingly, Black Mirror has featured many love stories throughout its run; of course, nearly all of them result in a far-from-happy ending. Hang the Dj’s premise of a dating app that estimates the match’s relationship length makes for a delightfully tragic ending that will catch you off guard no matter how many times you watch it.
22- Hated in the Nation (Season 3 – Ep.6)
Hated in the Nation remains the longest Black Mirror episode, replicating a full-length feature. The politically charged episode tackles the ever-present rhetoric of the dangers surrounding social media and how simple comments and replies can unravel a world of hell beyond the keyboard.
21- Rachel, Jack and Ashley Too (Season 5 – Ep.3)
Black Mirror and technologically charged plots go hand in hand, with many episodes piggybacking off of the horror of the internet, smartphones and surveillance. Rachel, Jack and Ashley Too takes aim at virtual assistant technology and how it has the potential to have a mind of its own. This surprisingly effective episode showcases Miley Cyrus in her best role yet as she performs as a troubled singer.
20- Mazey Day (Season 6 – Ep.4)
Mazey Day is a partial creature feature, as well as an expedition into grief, along with a touch of symbolism regarding the exploitation found within spectacles. This concoction makes for a fruitfully entertaining episode, which, unfortunately sometimes bites off more than it can chew.
19- USS Callister (Season 4 – Ep.1)
Outright inspired by Star Trek, this intergalactic trip is one of the more humorous episodes of the entire show, with plenty of tidbits and giggles amidst the disturbed background of what happens when a video game is taken to impossible heights.
18- Be Right Back (Season 2 – Ep.1)
Every once in a while, Black Mirror will stray away from horror and thriller and anchor onto pure tragedy. Be Right Back tests everyone’s moral constraints, the rights and wrongs of what to do when a loved one passes away. Many of the show’s episodes will make you ponder; however, Be Right Back will genuinely have you questioning what you would do in such circumstances.
17- Fifteen Million Merits (Season 1 – Ep.2)
Fifteen Million Merits is a testament to Daniel Kalyuua’s talents, with the episode primarily following his character Bingham in a world where humanity and currency are on an equal playing field.
16- Nosedive (Season 3 – Ep.1)
Nosedive and the current reality are not too far apart, with the episode focusing on what would happen if your life and wellbeing was directly linked to how you present yourself in an online-like world.
15- The Entire History of You (Season 1 – Ep.3)
Whilst memories can be warm and special, there are aspects of our lives that are best kept in the dark. The Entire History of You takes this idea of controlled memories and transforms it into a world of trickery where lies, affairs, and harrowing grievances are all brought to the forefront.
14- Playtest (Season 3 – Ep.2)
Playtest strains away from the thriller aspect of Black Mirror and diverts into complete sci-fi terrain. The episode focuses on the scariest threat of all, our own personalised fears, with the plot exercising what happens when we strive to make technology too personalised.
13- Joan is Awful (Season 6 – Ep.1)
The first episode of the latest series is Joan is Awful, a comical and tragic story about the increasing use of A.I. in film and television. Whilst Black Mirror is known for its extremities, Joan is Awful is worryingly close to home for many media fans, mainly due to the episode’s use of fabricated reality and computer-generated entertainment.
12- White Christmas (Season 2 – Ep.4)
Christmas specials typically fall on the lighter side of events, but in the world of Black Mirror, Brooker could not have come up with a bleaker plot. White Christmas is a foreboding anecdote about the deep and darkest secrets that lie within every one of us and how no matter how buried these affairs may be, they always have a way of worming to the surface.
11- Striking Vipers (Season 5 – Ep.1)
Striking Vipers offers nothing but jaw-dropping bombshells throughout the entire episode, with the plot taking the unexpected route at every turn. Similar to ‘San Junipero’,Striking Vipers explores virtual reality and escapism, except with a much less harmonious ending for everyone involved.
10- Demon 79 (Season 6 – Ep.5)
Black Mirror is known for its societal warnings about the rise and intelligence of technology. However, Demon 79 bashes away this archetype in favour of an armageddon-like story. It’s a unique episode that entirely stands out against the rest and opens the door for the world of Black Mirror, exploring alternative strains of themes and subjects.
9- Black Museum (Season 4 – Ep.6)
Black Museum is an absolute must-see for any Black Mirror fan, with each frame being filled with plenty of easter eggs from the show’s previous episodes. The premise is highly similar to many episodes, particularly ‘White Christmas’ and ‘Playtest’, with the whole narrative of mind transportation playing a significant role. Yet, unlike the two previous entries, Black Museum’s unforeseen curveballs make it stand above the rest.
8- Smithereens (Season 5 – Ep. 2)
Another criminally undervalued episode is Smithereens, starring the Damsen Idris and Andrew Scott, who steal the entire show unlike any other episode. Smithereens is part character study and part high-paced action thriller that warns about the dangers of social media. Whilst nearly every episode of Black Mirror has some thin veil of the truth lying within it, Smithereens has one of the more plausible fates events, making it undeniably harrowing.
7- Arkangel (Season 4 – Ep.2)
With censorship on the rise, Arkangel seems more timely (and more scary) than ever. A tale of protection gone wrong and the dangers of restrictions make Arkangel the creepy nightmare that it is. Despite some mixed reviews, Arkangel is an excellent example of how Black Mirror manages to both alert and intrigue at the same time.
6- Beyond the Sea (Season 6 – Ep.3)
Black Mirror has a penchant for beginning the episode in one particular terrain and ending up in a completely another emotional dimension. Beyond the Sea is melancholic, dull, and lacking in charisma – all of which are deliberate attributes that emphasise the episode’s existential allegory on the treacherous nature of isolation.
5- Crocodile (Season 4 – Ep.3)
A severely underrated and critically controversial episode is Crocodile, which takes the premise of a spiralling lie to new extremes, where every act of deceit, no matter how small, results in utter mayhem. Crocodile is a fantastic take on a somewhat overused storyline, making it one of the show’s most memorable episodes.
4- White Bear (Season 2 – Ep.2)
Another winning episode from the freshman days of Black Mirror is White Bear, a suffocatingly barbaric ride into what happens when the laws of justice are let loose. White Bear begins in an eerie place where nothing seems to make sense; however, when you compare the first act to the brutal ending, the starting point seems like a fairytale.
3- The National Anthem (Season 1 – Ep.1)
Black Mirror’s first episode, The National Anthem, is a pure force that shakes, surprises and submerses us into a world of deceit where bizarre sequences of events are made incredibly and terrifyingly realistic. The episode takes a heinous storyline and brilliantly implies the ‘tell-don’t-show’ rule, where our imaginations are left to do the dirty work, often resulting in images that are more chaotically cruel than the screen could ever reveal.
2- Loch Henry (Season 6 – Ep.2)
The beam and fascination of true crime seems to have society in a chokehold at the moment, with countless individuals becoming hooked on the ghastly and morbid world of real crime. However, one question that has consistently arisen since the allure of true crime began long ago is whether or not the indoctrination of genuine terror and real-life horror is ethical.
1- Shut Up and Dance (Season 3 – Ep.3)
Contentious subject matters consistently make for intriguing entertainment. Whilst this is a bold statement within itself, when a piece of media both raises awareness and compels graphic dangers, the result can be riveting. This is precisely what makes Shut Up and Dance a phenomenal episode of Black Mirror and arguably the show’s best feature yet. Each twist and turn is brimming with tension and awe, eventually building to a harrowing ending that both catches you off guard and remains ingrained in your conscious long after watching.
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Rob Savage has proven his status as one of the most exciting horror filmmakers actively creating in the current market. His feature debut, Host (2020), made the common Zoom session a playground for ghostly antics to ensue. Following shortly was the enigmatically charged Dashcam (2021) which barrelled in intense humour amidst the backdrop of a live stream. Adding to Savage’s growing filmography is The Boogeyman, an adaption of the Stephen King short story of the same name (1973).
Even in its most complex form, King’s story is simple, far from complicated, and a fundamentally brilliant portrayal of primal fears. Its own directness is what makes it a classic. Bumps in the night, the monster under the bed, and the scared of the dark logic all haunt us at one point; with this in his peripheral, Savage takes heed from extensive explanations and backstories surrounding simplistic innate frights to tackle a narrative brimming with unpretentious scares, and delivering a horror that grapples with urban-legend-like terrains.
As with many big studio-produced films, the story replicates a wave, interweaving emotionally dense performances in between the big scares, working with a continuous play of highs and lows. And for all of the loud, gotcha frights to succeed, a solid backdrop is essential. The film is graced by the talents of Sophie Thatcher (Yellowjackets), Chris Messina (Air), Vivien Lyra Blair (Bird Box) and David Dastmalchian (Dune), all of whom carry the dramatic storyline with ease, but most notably Thatcher, who plays the role of a grieving adolescent heavy with the weight of her sister’s trauma. Thatcher exceeds expectations and propagates the sympathetic tone of the film, ensuring a connection between the screen and the viewer.
The Boogeyman thrives on its traditional expositions, with each act defining a clear climax and then disequilibrium. However, whilst the film is far from dull, there does seem to be an error in restraint. Going from independent to studio filmmaking is a giant leap in creative freedom. It is not uncommon for executives to push specific characteristics or scenes that may generate more of a buzz, increasing the chances of financial success. Whilst this aspect leans more on the positive side, there is such a thing as too much emphasis on creating a film that ‘all’ audiences will love. Savage is such a fierce director, a true force. And yet, The Boogeyman sits at 90% ferocity rather than 100%.
It’s noted that initially, the film had that oomph factor one expects with Savage’s talents, but during test screening, audiences found the original cut too scary, meaning that specific tweaks had to be made. By no fault of the cast and crew, The Boogeyman has a slight fall when it comes down to the fear factor. However, a factor that boosts the film back towards its well-deserved acclaim is its atmosphere which is perfect for cinema viewings – just as movies are made to be seen!
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1 – One film has never made it out of the nasties list
As any horror fan will tell you, the ‘nasty’ period was brutal for the genre, with every film on the list going through rigorous censorship campaigns, resulting in many films not being released fully uncut until the mid-2000s. However, despite the times moving on, one film has still never seen the light of day in the UK. The banned culprit in discussion is Gestapo’s Last Orgy (1977), an exploitation flick centred on the horrors of war.
2 – The media’s concern went further than you could believe
In an interview regarding the nasties’ ability to infect the public’s minds, MP Graham Bright, stated that “research is taking place and it will show that these films not only affect young people, but I believe they affect dogs as well”.
3 – House of Commons goes to the cinema
As part of the NVALA (National Viewers and Listeners Association) campaign to ban the rise of horror, the organisation compiled a compilation of some of the more bloody moments from the films in question. This compilation was shown to ‘prove’ how horrid these films were, eventually convicning parliament to create laws and legislations that would change the path of horror cinema for decades to come.
4 – Real or fake – the case of Cannibal Holocaust (1980)
The infamous Cannibal Holocaust was not neccesarily the ‘worst’ film on the list. However, its use of firsthand footage and its mondo influences meant that director Ruggero Deodato was actually arrested for obscenity. The graphic material was so absurdly gruesome that the authorities eventually changed his charge to murder, as there was ‘no way’ that the performers actually went through the stunts voluntarily. Eventually, the case was settled when Deodato brought out the cast and proved that they were in fact still alive.
5 – Havoc at the video store
When the authorities were at the peak of prosecuting films, they would patrol local video shops hunting for obscene films. However, due to the officers not actually viewing the films, they did not always know which movies to lift from the shops. According to official documentation, Dolly Parton’s comedy musical ‘The Best Little Whorehouse in Texas’ (1982) as well as the acclaimed Apocalypse Now (1979) was seized simply due to their names.
6 – False evidence
It was not uncommon to see newspapers and reports comment upon the nasties as being equivalent to exercises in sadism that have the potential to tarnish the minds of Britain’s youth. However, when this was actually investigated, the results pointed elsewhere. Dr Guy Cumberbath was more than hesitant over the claims, resulting in him interviewing students at primary schools about the latest nasties. Most of the kids admitted to watching these films and enjoying them, but as part of the study, Cumberbatch would ask about fake titles that didn’t actually exist, all of which the participants would claim to have consumed.
7 – The rise in popularity
The protests against the nasties were vigorous and strict, yet that did not stop the list of films gaining significant positive attention. One of the more popular nasties was Sam Raimi’s The Evil Dead (1981), with the film’s first VHS release in 1983 (prior to the Video Recordings Act [1984]) garnered £100,000 in profit from its UK sales, making it both one of the quickest selling video releases in the history of home video.
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Dead Northern picks its ‘Top Ten Video Nasties’, in celebration of our new monthly event ‘Nasty Video Club’!
10 – Tenebrae (Directed by Dario Argento, 1982)
Throughout Dario Argento’s lengthy career, he has become synonymous with the Giallo subgenre of horror cinema, known for its hyper-stylised, theatrical films that focused on the fantasticality of the narrative. Whilst the video nasties have become heavily linked to slashers, an era of cinema that many forget is heavily twinned with the nasties is Giallo. One of the must-see films within this confine is Tenebrae, a stunning yet dramatically horrific tale of deceit and betrayal. Surprisingly, Tenebrae remained on the list until 1999; however, unlike many of the list’s entries, Tenebrae still managed to gain quite a reputation despite its censorship in the UK.
What propels Tenebrae into the video nasties hall of fame is the film’s most bloody and glorious scene, featuring a sudden axe attack which shows the victim flail her bloody, axe-wounded arm across an entire sterile white-coloured kitchen, painting the walls with bright red. As with many Giallo films, Tenebrae is a pure feat for the eyes, basking in the glory of beautifully morbid visuals and creating scenes that stand the test of time.
9- Blood Feast (Directed by Herschell Gordon, 1963)
Blood Feast is the oldest film on the video nasties list and one of the most underrated entries. The Herschell Gordon directed film is a junior feat from the early days of the splatter era. It is known for its pure bloodshed and frenzied chaos that focuses on heavy gore and violence, with the film’s storyline coming second to the visuals. Blood Feast fleshes out a myriad of themes, from cannibalism and ceremonial feasts to a whodunit mystery showcasing authorities trying their darndest to work out who is the culprit causing all of the murderous madness.
Whilst many video nasties have gone on to become outstanding classics, with burgeoning reputations following in its wake, Blood Feast has yet to reach this acclaimed status. Many horror icons, including none other than Stephen King, have gone on to declare their disdain for this film, yet, there is something so moreish about this 1960s classic. Indeed, the performances are not entirely polished, nor is the dialogue anything outstanding. However, Blood Feast belongs to that homegrown, grassroots string of horror that gives credence to independent filmmaking.
8- The Driller Killer (Directed by Abel Ferrara, 1979)
The Driller Killer screams ‘video nasties’. Everything about the film is entwined with what the nasty list epitomises; it has a catchy name, countless instances of violence, and is an all-around whale of a time. The film had one of the more severe punishments during the nasty reign, with the slasher not being reinstated until 2002 and belonging to the prosecuted section of the list.
However, the gore is so overtly over the top that any form of realism is entirely stripped, yet it is within this fantasticality that The Driller Killer shines. The flagrant score overpowers the dialogue at times, and the animated acting that thrives alongside the ludicrous character decisions propels the film into typical ‘nasty’ terrain where excessiveness trumps quality.
7- The Burning (Directed by Tony Maylam, 1981)
During the early 1980s, there was a massive boom in the horror market, with slashers, splatters, and gorefests rallying in the crowds and making financial waves in the process. Studios were desperate to capitalise on the success, with The Burning’s campsite premise eventually gaining interest. Upon its release, reviews were mixed, with horror still being a critically contentious subject. Despite The Burning not capturing critics’ attention, the film drew interest from the censorship board, which made excessive cuts for the cinema release. As the nasty epidemic grew, The Burning caused further outrage despite the public being openly allowed to watch it in theatres years prior. It was not until 2002 that audiences could watch The Burning in its full glory, with all of its murderous mayhem.
6- The Funhouse (Directed by Tobe Hooper, 1981)
Tobe Hooper is known for the one and only Texas Chainsaw Massacre (1974), the quintessential piece of horror history. However, The Funhouse still remains a criminally underrated diamond from his extensive filmography. The film is a terrifying circus of what happens when a carnival turns deadly, with the fairground antics collaborating with the multiple slayings, impalements, and electrocutions. Compared to its fellow comrades on the list, The Funhouse had an easy ride, obtaining a cinema release years prior and then being released uncut in 1987.
5- Dead & Buried (Directed by Gary Sherman, 1981)
For a gruesome video nasty with an abundance of visceral gore and ghastly frights, Dead & Buried has an incredibly gripping story that keeps audiences on their toes with immense amounts of suspense and tension. The writing duo Dan O’Bannon and Ronald Shusett are at the hands of the grasping script. Amongst their credits are Return of the Living Dead (1985), Total Recall (1990), and the original story for Alien (1979). The film oozes relentless excitement, with each twist and turn complimenting the gnaly practical effects.
4- The Last House on the Left (Directed by Wes Craven, 1972)
Prior to A Nightmare on Elm Street (1984) and Scream (1996), there was the utterly savage, brutal, and unforgettable The Last House on the Left. This 1970s classic based on Ingmar Bergman’s The Virgin Spring (1960) is a film that was deemed so barbaric that the BBFC did not release the full uncut version until 2008, not to mention the several post-nasties campaigns fighting against the release appeals made against the film for decades.
In decoding the film, there are a plethora of reasons raised as to why it remains just as disturbing now as it did decades ago, namely the realism that Craven applies to depict the horror. Despite the offbeat, out-of-place soundtrack and questionable acting, the events are beyond harrowing thanks to the unflinching camera that aims to show as much terror as humanly possible.
3- The Beyond (Directed by Lucio Fulci, 1981)
Another giallo classic to round off the list is The Beyond, a certified Lucio Fulci must-see. With The Beyond being the second entry in his ‘Gates of Hell’ trilogy (also including City of The Living Dead [1980] and The House by the Cemetary [1981]), its of no surprise that the film induces a blood-curdling, white-knuckled ride into delightful frights.
The Beyond’s contemporary cult reception is a warm welcome considering its contentious release, with the film not receiving an uncut release in the UK until 2001, as well as it not being available for public viewing until 1996 in the U.S.
2- Possession (Directed by Andrzej Żuławski, 1981)
Known as one of the most unhinged horror film’s from the eighties’ due to the infamous ‘tunnel scene’ is Possession, a European, graphic horror with an art-house flare that can only be described as eccentrically bizarre. Unlike many films that have a beginning, middle, end, rounded up with a solid conclusion, Possession ends with even more questions raised. To add to the narrative connundrem is the aforementioned tunnel escapade, which is a stunning exercise into how crucial performances can be in attaining affect. The film is definitely not for the faint of heart, eyes, or mind!
1- The Evil Dead (Directed by Sam Raimi, 1981)
Considering The Evil Dead’s contemporary reception, it can be easily forgotten how controversial the film was at the time of its release. Raimi’s deadite adventures has not faltered at the hands of time whatsoever, with every inch of the film being just as entertaining now, if not more, than when it first hit the screens.
Everything, from the chilling dialogue sung and screamed by the evil creatures, the unforgettable tree sequence, the first word read from the Necronomicon, and Ash’s (Bruce Campbell) iconic catchphrases is an essential part of horror film history. If there was the ultimate entry from the video nasty list, The Evil Dead will always be crowned winner.
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CELEBRATE THE BEST OF INDIE HORROR ON THE BIG SCREEN!
Dead Northern Film Festival returns for a fourth year with a three-day horror and fantasy film festival in the heart of the UK’s spookiest city, York.
The festival will be held from Friday 29 September to Sunday 1 October 2023
The programme will feature a 50th anniversary screening of ‘The Wicker Man’, new short and feature films, live events, Q&As with filmmakers and much more!
Following last years success, which saw over 500 admissions, celebrating the best of the indie horror film genre, the Dead Northern Film Festival returns with a thrill-packed weekend.
Horror and fantasy fans are invited to the York’s City Screen Picturehouse to spend the weekend celebrating frightfully good flicks old and new.
The line-up includes a mixture of specially curated new feature and short films from the best talent in the genre, locally and internationally, as well as a celebration of some classic horrors reaching milestone anniversaries.
Folk horror will take centre stage over the weekend with 50th anniversary screening of Robin Hardy’s ‘The Wicker Man’ accompanied by a panel of special guests and a carefully selected group of folk horror shorts.
Beyond the film – Expect interviews with industry creatives
There will be something for all genre fans from creepy thrillers to blood-soaked slashers.
Joshua Lawson Co-founder and director of festival programming says of the line-up: “We’re really excited to welcome Dead Northerner’s back to our most ambitious festival yet.”
“I can honestly say this is going to be strongest line up we have had in our 4 years growing the festival, with an eclectic mix of extra fringe events and activities”.
Festival goers enjoying the City Screen in between screenings
There will also be other surprises for festival attendees including special introductions, guest speakers and, of course, the live events and awards party that has become a fan favourite.
Dead Northern Festival award winners will join past alumni such as Rob Savage (Host) who won film of the year in 2020, and Erik Bloomquist (Ten Minutes to Midnight). With the most anticipated award “Best Death” won by Liam Regan’s Troma hit in 2022 (Eating Miss Campbell) sponsored by Dead Happy.
Liam Regan accepting the award for ‘Best Death’ in 2023
Brand new to this year is the ‘Bizarre Bazaar’ a unique marketplace dungeon of brilliantly unusual vendors dedicated to fans of the horror and fantasy genre.
VIP Weekend Passes for the festival are now on sale with day passes and individual screening tickets set to be available in August when the full festival schedule is released.
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