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.
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.
“Fear is all in the mind.”
Adapted from Kendal Young’s 1964 novel The Ravine, Sidney Hayers’ Assault is a vicious psychological thriller. Tessa Hurst, a 16-year-old pupil of the Heatherdene School for Girls in London, decides to take a shortcut home through the woods – through an area known as the Devil’s End. Unbeknownst to Tessa, she is being stalked by an unseen assailant who, upon making himself known, proceeds to chase her as she flees in terror. With nowhere to run Tessa is assaulted, partially stripped, and raped.
“If you go down in the woods today…”
Fright Night Part 2 would only work if its main vampire – following the iconic Jerry Dandrige – was strong. Regine Dandridge, the sister of Jerry, was played wonderfully by Julie Carmen. Sultry, sexy with a huge element of danger, Carmen truly became part of the Fright Night universe with this performance.
“Fright Night Part 2 would have evaporated into the ethers if it were not for some dear loyal souls who originally saw the film and who continue to talk about the effect it had on them while growing up.”
Network is proud to add two early 1970s cult favourites to their ‘The British Film‘ collection: a brand new high definition remaster of the 1972 renowned horror classic Death Line (aka Raw Meat); and the hard-hitting 1971 thriller Assault (aka In the Devil’s Garden).
“Beneath modern London, buried alive in its plague-ridden tunnels lives a tribe of once humans. Neither men nor women, they are less than animals… they are the raw meat of the human race!”
Waxwork Records proudly presents the debut film score release of Queen of Earth. Written and directed by Alex Ross Perry, and starring Elisabeth Moss and Katherine Waterston, 2015’s Queen of Earth is an American psychological thriller. Scored by composer Keegan DeWitt, the beautiful-nightmarish music of Queen of Earth captures an auditory mental breakdown.
“You fucking animal. You unrepentant piece of shit. You click your tongue and you revel in the affairs of others. You are worthless.”
Sometimes in film, a mood or feeling transcends the writing, itself. Kevin Philips’ debut feature, Super Dark Times is one of those films. The overall moodiness and aura of this teenage drama/horror film creates a skin-crawling dread that stuck with me long after viewing it. Super Dark Times is a teenage drama film that feels closer to horror at many points, and because of this, may scare off some fans of either genre. It is also extremely well-crafted and wonderfully moody, which is why it is a film that should definitely not be overlooked.
“If anybody asks, we’re already fucked.”
Waxwork Records presents the soundtrack to the 2014 Australian psychological horror film, The Babadook; directed by Jennifer Kent. The narrative and film engulf the viewer in themes of personal loss, grief, despair and ultimately, recovery.