Directed by Rodrigo Aragão Written by Rodrigo Aragão Starring Renato Chocair, Allana Lopes, Diego Garcias, Caio Macedo, Clarissa Pinhei
Evil can’t be controlled
Introduction
The present is formed by history and battles started hundreds of years ago are still waging on. Brazilian writer-director Rodrigo Aragão’s newest film, O Cemitério das Almas Perdidas (The Cemetery of Lost Souls, 2021) is an engrossing and dark fantasy that uses the fight between the shamanism of Brazil’s indigenous people and the staid, oppressive and exploitative Catholicism of the Portuguese colonists. The movie opens with a dedication to José Mojica Marins, Brazil’s most well-known horror icon: Zé de Caixão/Coffin Joe. AragãoIs is telling the audience to prepare themselves for a history lesson through the lens of horror.
[Review] WITNESS INFECTION (2021) SERVES UP A FRESH DISH FROM CINEMATIC LEFTOVERS
Director: Andy Palmer Writers: Carlos Alazraqui, Jill-Michele Melean (as Jill-Michele Meleán) Stars: Robert Belushi, Jill-Michele Melean, Vince Donvito, Errin Hayes, Bret Ernst, Monique Coleman
“Always leave one in the head!”
-- Serrelli Family Motto
“It smells like death in here.”
Witness Infection (2021) is like a delicious repast made from leftovers. While the ingredients are familiar, mobster movies, rom-coms, zombie invasion films, they get mixed together into a unique dish. Occasionally the meal devolves into an overcooked, tasteless mess by relying on overused stereotypes, this liberally spiced gangster-zombie-romcom is saved by a quick witted, funny script and over-the top gore. There are plenty laughs, thrills and even a little pathos to balance it all out. Some viewers may left hungry for more substance, over all, it is a fun meal to feast on.
When Clemenza schools Michael on the art of cooking for 20 in The Godfather, Francis Ford Coppola forever linked together Italian families and food in cinema. Director Andy Palmer and co-writers Carlos Alazraqui and Jill-Michele Melean continue that tradition with a skilled cast of veteran comedy actors to create a movie about food, family, and the intestines that tie them together.
Many fans of the horror genre are curious about the bizarre, the violent, and above all, the bloody and frightening. The prospect of a journey into the abject, that terrifying place where there are no boundaries and everything is hostile and alien, is an irresistible draw to us. History is one of many resources available to help satisfy that curiosity. Its frightful stories of monstrous men and women captivate our imaginations. One such pair who have left an indelible mark on public consciousness appeared in Eastern Europe along the bridge of the 15th and 16th centuries and their impact is strongly felt today!
Director: Natasha Kermani Writer: Brea Grant Stars: Brea Grant, Hunter C. Smith, Kausar Mohammed, Dhruv Uday Singh, Yasmine Al-Bustami
“ I am not lucky I just work really really hard”
The Brea Grant Appreciation Society will come to order
People who are obsessed with horror movies are also obsessed with the people that make them. Many horror fans keep lists of favorite personalities such as Stephen King, John Carpenter and George Romero to name a few. After watching the excellent 12 Hour Shift, I added the name Brea Grant to my list. Ms Grant is a thought-provoking writer and innovative director. In addition to writing and directing, she is also an exceptional actress, having appeared in several notable films and TV series. The year 2021 is starting out to be a big year for her as well. March of this year will feature the release of two new projects that she has been intimately involved with; she stars in Jill Gevargizian’s The Stylist, and she wrote and starred in director Natasha Kermani’s Lucky (2020).
Director: Steven Kostanski Writer: Steven Kostanski Stars: Steven Vlahos, Matthew Ninaber, Kristen MacCulloch, Nita-Josee Hanna, Owen Myre, Alexis Kara Hancey, Timothy Paul McCarthy
Psycho Goreman: The horrors you have just witnessed cannot be unseen. Your young minds will carry this until it consumes you in a miserable death. Mimi: Cool.
On February 3rd, 2021, the Hollywood Foreign Press announced their nominees for the 78th Golden Globe awards, to spotlight excellence in film and television. I would like to address what I consider to be a grievous error of omission on their part. Their failure to nominate Stephen Kostanski’s Psycho Goreman (2020) as Best Intergalactic Feature is an unbelievable oversight and needs to be addressed!
Starring: Camille Sullivan, Summer H. Howell, Devon Sawa, Nick Stahl Director: Shawn Linden Writer: Shawn Linden
“We bring our problems to them, they bring their problems to us.” - Joseph
THE ELEMENTS OF FICTION
Shawn Linden's (The Good Lie) third film, Hunter Hunter (2020) presents the viewer with a complex roadmap to navigate towards a shocking conclusion which firmly places it in the subgenre of Canuxploitation. Linden takes his time to flense the skin and fat from his story to expose the bones and sinew before laying out the beating heart of his thriller. The main characters, the Mersault family, journey through many types of conflicts which drive the rising action and leads to a shocking climax and bloody resolution.
The Mersault family struggles with many different types of conflict as they live in their chosen setting, a cabin deep in the woods with minimal human contact. Joseph (Devon Sawa, Final Destination, Idle Hands), Anne (Camille Sullivan, A Dog's Way Home), and their tweener daughter, Renee (Summer H. Howell, Cult of Chucky), live off the grid. They make a simple, bare bones life as hunters and trappers. Their primitive existence is initially upset the return of a wolf that eats their traps the discovery that there is not enough money to buy supplies for the coming winter.
Child of Dunwich rise You have your fathers’ eyes Child of Dunwich rise End the world that you despise -Electric Wizard, “Dunwich,” Witchcult Today
Return to Dunwich
One of the most looked-forward-to horror movies of 2020 was Richard Stanley’s Color Out of Space. It was Stanley’s return to directing after 1992’s Dust Devil. There was much excitement about what the talented filmmaker would do with a work based on one of horror’s most beloved, and problematic authors–Howard Phillips Lovecraft. Upon release, the movie quickly was lauded as one of the year’s best movies. The reasons for its success are many, but Stanley’s unique envisioning of the story and his reverence for the source material were among the largest. Not surprisingly, the moviegoing public is anxiously expecting what he will do next.
Early in 2020, Stanley announced plans to make a Lovecraft trilogy. He had begun writing a script for The Dunwich Horror, based on Lovecraft’s story, first published in Weird Tales magazine in April 1929. This was exciting news for me because watching Daniel Haller’s The Dunwich Horror (1970) on late night television was my introduction to Lovecraft’s eldritch New England with its caches of forbidden knowledge, occult practitioners, and transdimensional monsters. I had been thinking about watching it again and now had a reason. With a new version coming soon, it was time to revisit spooky, aged Dunwich, Massachusetts to refresh myself on what devilry the Whateley clan did to earn their place in the hallowed halls of horror.
Holy shitballs has 2020 been a wild ride! But I believe we all learned a lot this year. Sadly, most of that probably falls under the “Good to Know” category rather than the “Good News” category. Who knew we would all end the year with Christmas lists that include day pajamas? Or be faced with the unsettling discovery that behind the burled, polished hardwood exterior of our system of checks and balances is the maggot laden, decomposing, hungry-for-your-brain zombie of despotism? Or just how easily many of our nation’s most beloved ideals could be subverted and perverted, used to attack the very principles they were established to protect? But lets talk about the movies. Here is my first ever end of the year wrap up of favorite films from the last few years. I made an effort to concentrate on movies that I haven’t written about previously because everyone already knows that Luca Guadagnino’s Suspiria is my favorite film. No, I mean Mandy, or was that Midsommer? Or…
I have been using the tools at Trakt to record what I watch and rate. My profile (please feel free to follow me!) is here: https://trakt.tv/users/mcubed1220
David Kajganich, screenwriter of Luca Guadagnino’s Suspiria spoke on The Gaylords of Darkness Podcast about there being two kinds of horror: Rigorous and less rigorous horror. To me, that defines the movies I watch once or twice and forget about and the ones that I rewatch many times because they offer plenty to ponder. For this edition, I mixed in some less rigorous films and reveled in their easy-going charms!
So much has happened in the world since you wrote to me in mid-September! Suffice it to say that life is still overwhelming, and our limbic systems are overburdened. The effects of long-term exposure to stress can lead to real changes in brain functionality and behavior. People can exhibit bizarre behavior and may become more susceptible to addiction and depression. Lucky for us, we have been dealing with those issues successfully for quite a while!
This week’s edition of Shocktoberfest 2020 is about old world horrors under the modern world’s electric lights. A Bay of Blood, which I wrote about last week, is an apt milestone to delineate between the dignified, gloomy gothic horror films set in the past and the newer, present-day, violent, and gory horror films that began to push them aside. Viewers began to lose interest in watching movies set in the previous century and began to crave movies set in a more familiar world – the one they were living in now.
Directed & Written by Brea Grant Stars: Angela Bettis, David Arquette, Chloe Farnworth, Mick Foley
Lucky you got family checks on you.
12 Hour Shift is a true gem of a movie! Writer-director Brea Grant’s ode to the fucked-up-ness of life in Arkansas in 1999, 12 Hour Shift (2020), was the movie I was most looking forward to watching at this year’s virtual Fantasia Fest. The acting, the story, the music, and the attention to fine detail made watching this long-anticipated movie a treat!. Like a master storyteller, Grant splays out her characters like a group of spinning quarters whirling around a tabletop. They ricochet off of each other in unpredictable ways, fall over or sail over the table’s edge.
I am writing this on September 18th, 2020 just after I found out that Ruth Bader Ginsburg is dead. For the first time, I am considering giving up and letting hopelessness take over. I keep thinking of a social media post about trauma survivors who watch the same movies and shows over and over. It is because they find comfort in the familiarity of the experience. Revisiting favorite shows and movies is a powerful antidote against the unpredictability of life. Pattern recognition for humans, where we examine the data, looking for the reassurances that we will survive the present.
This week I revisited a film that after 50 years still gives me nightmares. I was surprised to find some curious links between it, modern horror films, and today's news cycle. Like Ripley tells the xenomorph in Alien 3, "You've been in my life so long, I can't remember anything else," I can't remember my life before images from George Romero's Night of the Living Dead started making started making an impression. In fact, it was so powerful that I first viewed it subconsciously during my nighttime slumbers years before I was able to actually watch it. The world also said goodbye to Diana Rigg this week. This was perfect reason to watch her and Vincent Price ham it up in Douglas Hickox's Theater of Blood, a thriller-chiller of Shakespearean proportions.
Where did my love of horror come from? As near as I can tell, it is probably hard-coded into my DNA. I am certain that there is a specific gene sequence that is related to a passion for the macabre and ghastly. As a small child, maybe even as young as 5 or six, my dreams became populated with images that I would later recognize as monsters from movies. In the first dream I can remember, I was trapped in the dark, spooky side of our basement when a frightening creature lunged at me from behind the furnace. Later on, I would find a picture of that monster in a book on movies at the local public library. It was none other than the great Lon Chaney Sr. from London After Midnight that pursued me into the dark and damned spaces of imagination that I call home. In order to celebrate that first panic run into nightmare territory, here are the first week’s movies from my yearly Shocktoberfest!
In the midst of an extinction level event, The Beach House reminds us of how fragile human life really is.
THE BEACH HOUSE
Starring: Liana Liberato, Noah Le Gros, Jake Weber, Maryann Nagel
Written & Directed by: Jeffery A. Brown
“You should be thankful you have all the time to do what you want” -Jane
Writer and director Jeffery A. Brown’s first feature film, The Beach House (2019) takes four characters in the midst of pivotal, personal journeys and exposes them to the cosmic horror of a deadly force from the primeval ocean floor. Two couples are brought together at the titular beach house by chance. While soon-to-graduate Emily (Liana Liberato) is pondering grad school programs, her boyfriend, Randall (Noah Le Gros), is pressuring her to join him on his quest for a life of “vacation all the time.” The go to Randall's family's beach house to discuss their future together. They discover they are sharing the house with Mitch (Jake Weber) and Jane (Maryann Nagel), an older, married couple with their own major issues. Jane is gravely ill, possibly dying, while Mitch struggles to care for her and is drinking heavily.
Natalie Erica James’ first feature film is a slow-burn, emotional drama about the horrors of ageing parents and hidden family histories.
RELIC (2020)
Starring: Bella Heathcote, Emily Mortimer, Robyn Nevin
Writers: Natalie Erika James, Christian White
Director: Natalie Erika James
A JOURNEY INTO THE DARK
Australian writer/director Natalie Erika James’ first feature film, Relic (2020), traps viewers in the terrifying, dark maze. Her inspiration began while she was visiting family in Japan. There she saw a sign outside a temple promising “the key to paradise” could be found inside. Following the signs led her to a basement labyrinth where she quickly got lost in the dark. After groping her way to freedom, James noted that the experience had changed her being, “Everything seemed brighter, sharper. I felt buoyed by my small, private achievement for the rest of the day.” (MovieMaker Magazine)
Ginger Snaps (2000)
Director: John Fawcett
Writers: Karen Walton (written by and story), John Fawcett (story)
Stars: Emily Perkins, Katharine Isabelle, Kris Lemche
Hard Candy (2005)
Director: David Slade
Writer: Brian Nelson
Stars: Patrick Wilson, Ellen Page, Sandra Oh
Jennifer's Body (2009)
Director: Karyn Kusama
Writer: Diablo Cody
Stars: Megan Fox, Amanda Seyfried, Adam Brody
Many modern, female-centered, coming-of-age horror movies share common roots with ancient Grecian dramas wherein individuals act as stand-ins for greater societal concepts. Coming-of-age stories feature an essential turning point that allows the protagonist to display their progress towards maturity. Needy, Haley, and Brigette, the protagonists of Jennifer’s Body, Hard Candy and Ginger Snaps, reach that point and beyond as they display characteristics similar to the stages of development the ancient Greeks went through on their evolution toward a legal system that was fair to all, as fifth century BC playwright Aeschylus illustrated in his play cycle The Oresteia. The three plays, Agamemnon, The Libation Bearers and The Eumenides, symbolically tell the tale of Ancient Greece's coming-of-age via the conversion from lawlessness and vigilantism to a legal code that applied to all and was enforced by the government, not individuals. This progression is mirrored by the adolescent girls' transition from the chaotic powerlessness of childhood to the responsibility that comes with the agency of adulthood.
Kulay Dugo ang Gabi (1694 ) - Released as The Blood Drinkers (USA) or The Vampire People (USA)
Staring: Ronald Remy, Amalia Fuentes, Eddie Fernandez, Eva Montes Produced: Cirio H. Santiago, Premiere Studios in Manila, dist by Hemisphere Pictures in US Written: Cesar Amigo (screenplay), Rico Bello Omagap (story) Directed: Gerardo de Leon, Eddie Romero
Brides of Blood (1968)
Staring: Kent Taylor, Beverly Powers (as Beverly Hills), John Ashley,Eva Darren Produced:Kane W. Lynn (Hemisphere Pictures) Written: Cesar Amigo Directed: Gerardo de Leon, Eddie Romero
I am grateful to have a group of friends who love unusual movies. We often have movie nights to watch some pretty far out films like Liquid Sky, I Drink Your Blood, and recently, we had an unplanned Russ Meyer double feature - Faster PussyCat and Beyond the Valley of the Dolls.One of my favorite movie nights was a double bill of The Blood Drinkers (1964) and Brides of Blood (1969), two Filipino horror films we dubbed as TWIN TALES OF TAGALOG TERROR! These movies shown together tell a story about the influence of not just the political climate in the Philippine Island in the 1960s but also how American filmmakers radically changed the industry in both countries. Together they represent the calm before a giant typhoon that would sweep back across the Pacific Ocean to the drive-ins and grindhouse theaters of The United States.
I am a horror film fanatic. I love how they are both exciting and thought-provoking, as well as their capacity to be so weird! Having spent so much of my life watching, enjoying, analyzing, and discussing horror films, my worldview has been undeniably influenced by them. Last year, I set myself to the task of reading more, not only to broaden my understanding of the world I live in, but also to seek understanding of the world through the eyes of others. So, when theFaculty of Horror podcast recommended Sady Doyle’s Dead Blondes and Bad Mothers: Monstrosity, Patriarchy, and the Fear of Female Power, my interest was piqued.
VINEGAR SYNDROME’S BLOOD MANIA AND POINT OF TERROR SET RIPS THE SCREAMS RIGHT OUT OF YOUR THROAT!
BLOOD MANIA / POINT OF TERROR
Blood Mania
Starring: Peter Carpenter, Maria De Aragon, Vicki Peters, Alex Rocco, Leslie Simms
Written by: Peter Carpenter, Tony Crechales, Toby Sacher
Directed by: Robert Vincent O’Neil
Point of Terror
Starring: Peter Carpenter, Dyanne Thorne, Lory Hansen, Leslie Simms, Joel Martson
Written by: Peter Carpenter, Ernest A. Charles, Tony Crechales, Chris Marconi
Directed by: Alex Nicol
“We’re very young souls. Very young and evil.”
“Yes, very evil…You’ll probably live to be a hundred and ten.”
“Yeah? Why’s that?”
“Only the good die young.”
Currently, going to the movies is a single-film event but it was not always that way. My dad told me that when he was a kid during the Depression (I am that old), going to a picture show meant featurettes, a newsreel, and two movies, sometimes even singing, all for a dime! When I was a child in the 1960s and 1970s, that sort of thing was long gone. But drive-ins will always have double bills where a current feature is coupled with the return of something from last year or the year before, that were thematically linked (Stallone/Schwarzenegger pairing of Raw Deal and Cobra in 1986 taught me everything I needed to know about being a man.). Sometimes they were odd pairings, such as the Mel Brooks comedy Young Frankenstein and psychological slasher Toolbox Murders double feature that I convinced a friend from church to get his dad to take us to see. Mr. D. lasted about 7 minutes into the The Toolbox Murders before pulling the plug on the evening.
Sometime during the mid 1970s, a horror triple feature of Blood Mania (1970), Tombs of the BlindDead (1972), and the 1974 Vincent Price meta-horror film Madhouse made the drive-in rounds. I was around ten or 11 at that time, so there was no way to see it. But the TV spot was filled with enough weirdness to fuel my imagination for decades. Replete with the most brain bending bizarre images: undead monks crawling from graves, frightening monsters gathered in a living room, and all the distorted shadows and shapes that can be derived from descending a spiral staircase in the dark, I felt a need to go to those places and explore their environments. While Tombs of the Blind Dead and Madhouse are better known, it was Blood Mania that packed the most punch.
Director: Tony Dean Smith
Writers: Tony Dean Smith, Ryan W. Smith
Stars: Adrian Glynn McMorran, Magda Apanowicz, John Cassini,Frank Cassini, Aleks Paunovic, Bill Marchant "Our choices don't matter, life happens beyond our control." Volition-the faculty or power of using one's will.
I give most of my movie attention to films that fall under the “blood soaked orgy of terror” category. But I love a well written, fast paced story with great characters and plenty of action plus interesting ideas to play with. The trailer for director and writers siblings Tony Dean Smith and Ryan W. Smith, aka The Smith Brothers, for Volition(2020)promised all that and I had to check it out.
For my 55th birthday, I went to see one of the most divisive horror films since 2015’s It Follows. The division falls sharply along gender lines as the male viewers search for new ways to express their displeasure and the females champion its clear-eyed take on the difficulties of modern life. What has created this intense, boys versus girls shouting match on social media? It is director-writer Sophia Takal & co-screenwriter April Wolfe’s reimagining the 1974 slasher film Black Christmas as a polemic on toxic masculinity and female oppression. Due to its transgressive nature and unsubtle/over-the-top presentation, Black Christmas has ruined Christmas for many horror fans!
Starring: Bella Heathcote, Emily Mortimer, Robyn Nevin
BLACK CHRISTMAS (2019) RUINS CHRISTMAS IN JUST THE RIGHT WAY