Waxwork Records is thrilled to present Jacob’s Ladder original motion picture score by Maurice Jarre. Jacob’s Ladder is a 1990 psychological horror movie starring Tim Robbins, Elizabeth Peña, and Danny Aiello.
Daniel Isn’t Real is a vivid psychological horror from director Adam Egypt Mortimer, which centres around troubled college freshman Luke Nightingale. We learn that when Luke was around five years old he ran into the street to get away from an argument which was raging between his mum Claire, who was struggling with mental issues, and his unsympathetic dad. A few blocks away he stumbled across the aftermath of a bloody shooting at a neighbourhood café. As little Luke stood staring at a blood-spattered corpse, he was suddenly joined by another little boy called Daniel.
“I had an imaginary friend when I was a kid. His name was Daniel.”
Waxwork Records is proud to present Maniac original Netflix series soundtrack by Dan Romer. Starring Jonah Hill and Emma Stone, Maniac is a 2018 psychological dark sci-fi series that follows two strangers who connect during a mind-bending pharmaceutical trial.
“I don’t know what’s real, and what’s not.”
With a title such as Accidental Exorcist you’d be mistaken for thinking this movie was firmly rooted in the comedy-horror genre. I was. So it was a total surprise when on viewing that I realised this was definitely not comedy and moderately horror, more a psychological-thriller – which is fine, but very misleading.
Okay, so I now settled into what I soon discovered to be a very serious, brooding thriller about Richard Vanuck, who’s only talent in life is successfully being able to perform exorcisms.
“Evil touches us all.”
Christmas time approaches, snow is falling and the once opulent and lively Butler House has now stood abandoned for many years following the mysterious death of its proprietor. Jeffrey Butler, grandson to the property’s namesake is in town to sell his inheritance but just why he has appeared after so long and what dark secrets lie within the Butler family history are a puzzle to the locals. An entertaining piece that often has a charm in its roughness, Silent Night, Bloody Night gives us some memorable kills complete with the help of that old favourite Kensington Gore.
“The mansion… the madness… the maniac… no escape.”
There’s a very poignant line given by a therapist to character Arthur Fleck in the movie Joker that basically sums up its overall message: “Nobody gives a fuck about people like you.” The character of the Joker has been featured on screen four times previously, but this is the biggest change in dynamics than ever seen before. So too is the environments those previous incarnations have played in. This time around there’s no mention of superheroes or capes. This is the most grounded, gritty and most realistic take on the character and the city of Gotham ever.
“Put on a happy face.”
Based upon Sébastien Japrisot’s 1977 novel of the same name, L’Été meurtrier – or as it is known in English speaking territories, One Deadly Summer – stars Isabelle Adjani as Eliane “Elle” Wieck; a troubled young woman who settles with her family into the small rural town in the south of France.
“All he wants is to get her stupid knickers off, and all that she wants is that he manages. And that he doesn’t get his fingers caught in the zip. Just to forget for a moment that he is the son… of that piece of shit bastard father of his.”
With more Cesar Awards to her name than any other French actor and a host of Academy Award nominations, Isabelle Adjani is perhaps the most celebrated French screen star of all time. In 1983 she hit a career defining high, in Jean Becker’s much-lauded crime classic One Deadly Summer (L’Été meurtrier), a potent blend of neo-noir and erotic thriller that picked up four Cesar Awards including Best Actress for Adjani.
“What do you want? To find out which of the bastards was your father?”
In Climax, a troupe of young dancers gathers in a remote and empty school building to rehearse. Following an unforgettable opening performance lit by virtuoso cinematographer Benoît Debie and shot by Noé himself, the troupe begins an all-night celebration that turns nightmarish as the dancers discover they’ve been pounding cups of sangria laced with potent LSD. Tracking their journey from jubilation to chaos and full-fledged anarchy, Noé observes crushes, rivalries, and violence amid a collective psychedelic meltdown.
“You despised I Stand Alone. You hated Irreversible. You loathed Enter the Void. You cursed Love. Now try Climax.”
John Harris works for a property/land development firm in New York City. After his wife Samantha has a miscarriage, his life begins to change. This unfortunate event has traumatized her and John thinks that some time away from the city would do both of them a world of good. Writer/director Courtney Fathom Sell created a film that is less about shocks and horrific moments and more about building an imposing sense of fear. From the moment the Harris’ move into their new house, there is an air of unnerving trepidation.
“What kind of sick people would do something like this?”
When you pick up Jasper Bark’s short novel Quiet Places, know that you’ll be holding a stick of dynamite in your hands. It’s got a slow-burning fuse, but when it goes off, you will be completely blown away. Billed as cosmic folk horror, a classification of genre fiction heretofore reserved for this book alone, so far as I can tell, Quiet Places tells the story of Sally, her lover David, and the Scottish town of Dunballan.
“Then there were the bodies she had to pull from crashed cars, and the corpses that had fallen from ladders, or scaffolding. They had to be disposed of and there was never enough time to do that…”
Defarious is gorgeously shot, with a tinged-blue colour pallet reminiscent of 80’s retro horror, with hints of slasher genre thrown in. Pallante is able to build the atmosphere well with an easy on the eye leading lady – Janet Miranda (as Amy) – and a wonderfully large environment to broaden its scope. As Amy roams the house her visions manifest into a crazed killer or demon, which raises the questions of what’s reality and what’s only in her head. Overall Defarious hits a few marks. Not as unsettling as it thinks it is, but is a nice nod to the inspired classics of the 1980s.