Troma Entertainment’s out of this world, apocalyptic TROMAasterpiece, Mutant Blast, from director Fernando Alle has officially been selected to be a part of the ‘Night of the Dead’, at the 2019 Leeds International Film Festival taking place from 6th-21st November, in the UK!
Troma Entertainment’s Mutant Blast, directed by Fernando Alle, will have an exclusive world premiere on Thursday, 17th October at Nos Colombo Cinemas in Lisbon, Portugal with Lloyd Kaufman, president of Troma and creator of The Toxic Avenger in attendance! After a scientific experiment goes horribly wrong, a man with superhuman strength, a ferocious, fearless female soldier, and a slacker with a mean hangover must band together as the human race’s only hope for survival against a zombie apocalypse, in a world that’s about to become a nuclear wasteland!
“The end of the world has never been such a blast!”
John Krasinski, better known for his portrayal on The Office, has not previously tackled the horror genre; either as a director or as an actor. His directorial debut, Brief Interviews with Hideous Men (2009), and his second feature The Hollars (2016) were both comedic dramas that displayed Krasinski’s talent both in front of the camera and behind it. But Krasinski’s transition into horror is something special. Co-written by Scott Beck, Bryan Woods and John Krasinski, A Quiet Place is as much about parenthood, as it is about the otherworldly creatures that hunt exclusively by sound.
“If they hear you, they hunt you.”
Tank Girl’s protagonist is a sexually-liberated, confident, independent woman who, quite literally, spits in the face of her oppressors. Kesslee doesn’t want to beat Tank Girl, he wants her to join him. But she refuses to be co-opted by the mainstream. It’s the fault of riot grrrl, of course. There’s a bold, alternative spirit to Tank Girl, thanks in no small part to its soundtrack.
“In 2033, justice rides a tank and wears lip gloss.”
“Oh, I’m gonna hit you so hard, your children will be born bruised!” I’m too young for this shit! So, listen… Comet TV and Attack from Planet B are hitting one randomly chosen person with the opportunity to win Tank Girl and other cult classic swag…so it ain’t all bad. “Look, it’s been swell, but the swelling’s gone down.”
Competition ends Thursday, January 4th 2018
Deceptively titled and oddly mis-marketed as a horror movie, Trey Edward Shults’s second feature It Comes at Night, might much more appropriately be viewed as a ‘post-apocalyptic psychological family drama’.
I’m often loath to place a movie under a genre classification, because certain movies might straddle several genres and don’t easily fit into pigeonholes.
However, if you go to see It Comes at Night expecting a conventional horror film, you will be disappointed… or perhaps you’ll be surprised.
“You can’t trust anyone but family.”
I usually have a bit of a problem with zombie movies – I find them dull. Yes, I know zombie fans will be throwing their Walking Dead box sets at my head (and those are some hefty tomes) but I find that, although they may be a popular horror monster, zombies are forced to rely heavily on the cheap, gross-out factor in order to distract from the fact that they have scanty horror mileage, no rich mythos to draw on and offer little scope for variation, tension or development. I am left to suppose that zombie fans are in it for the fashion statement. I am however, an Asian horror enthusiast.
“Life-or-death survival begins.”
Let’s face it, the 1980s were awesome! So it’s expected that nostalgia will run rampant, but few modern films have been able to capture the decade’s idiosyncrasies like Turbo Kid.
“This is the future. The world as we knew it is gone. Acid rain has left the land barren and the water toxic. Scarred by endless wars humanity struggles to survive in the ruins of the old world, frozen in an everlasting nuclear winter. This is the future…this is the year 1997.”
Those who might shift the blame for Cell’s shortcomings onto a writer with a feeble understanding of the source book should be aware that Stephen King himself had a hand in composing the screenplay. Not only that, he also warned admirers of said novel that some changes that might rub them the wrong way would be imminent. King wasn’t lying, having willingly helped turn a visceral and harrowing work like Cell into a limp-wristed 28 Days Later riff with too many cut corners to freak out seasoned horror buffs.
“When everyone is connected, no one is safe…”
Doug Roos’ independently produced, feature-length, post-apocalyptic horror film was promoted primarily on it’s practical special effects, make-up and lack of computer-generated imagery (CGI). In this respect The Sky Has Fallen does not disappoint. Shot in Missouri and clearly influenced by Ryuhei Kitamura’s Yakuza/Zombie splatter-fest Versus (2000), The Sky Has Fallen combines elements from various horror subgenres and, whereas most would fail, Roos’ somehow manages to make everything work cohesively with only a few missteps.
“All practical FX. No CGI.”
Let’s get right to it; is this movie the final installment of The Bronx Warriors trilogy that includes 1990: The Bronx Warriors and Escape from the Bronx, or not? The short answer in my opinion is no, it most definitely is not. It bears no resemblance, nor any connection to the previous films that I could detect; though it is supposedly set in New York, I don’t recall any reference to it in the dialogue.
“For an ENDGAME champion in the year 2025, there’s only one way to live. Dangerously.”
Let me just preface this article with the acknowledgement that I loved this movie way out of proportion to what it probably deserves. If you’ve seen it or do so in the near future, it’s a tossup as to whether or not you’ll feel the same way about it that I do. You might gag and roll around on the floor foaming at the mouth miming, “My eyes, my eyes!” But seriously, have you seen it yet?
Another movie that’s so good at being bad that it surpasses all expectations, America 3000 is the work of writer-director David Engelbach. You’ll join me if that name doesn’t ring a bell, as this movie was his single directorial credit.