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.
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.
“You can’t get rid of… The Babadook.”
Waxwork Records proudly presents the deluxe re-press of their previously, long sold-out vinyl release of Rosemary’s Baby; the most comprehensive presentation of the original film score to ever be pressed to vinyl. In addition to the re-press of Rosemary’s Baby, Waxwork Records is thrilled to present the original motion picture soundtrack to the 1973 British-Italian thriller, Don’t Look Now.
“What have you done to him? What have you done to his eyes, you maniacs!”
Based on the Manga by Tsugumi Ohba and Takeshi Obata, Death Note is a huge franchise in Japan. The Netflix remake rather misses the entire message of the original Death Note – which is that power corrupts. It barely touches on the themes that gave the original depth and intrigue and lacks its tension-building storytelling, which left the viewer wondering where the latest development might lead, and who would win. It’s the version for people who can’t cope with subtitles.
“Every human spends the last moments of his life in the shadow of a death god.”
The Blair Witch Project is ‘The Cardiff Giant’ of modern horror films. The film employed the now common trope of “found footage” to give an authentic and haunting atmosphere to the story. The movie was also one of the first to use the internet to reinforce the found footage concept, going so far as to hire actors to pose as policemen for interviews and post pictures of artifacts found at the crime scene.
“In October of 1994 three student filmmakers disappeared in the woods near Burkittsville, Maryland, while shooting a documentary… A year later their footage was found.”
Split is a grindhouse film in disguise, particularly repulsive for the cavalier way it blames women for the degeneracy of McAvoy’s character.
What makes Split so frustrating is that it could have been Shyalaman’s best film. Visually the film is perfect and the sound strikes the right balance between serene and scary, much like a Hitchcock film. The tension is palpable in the psychiatrist’s scenes, and the gripping terror of the girls is captured perfectly as their predicament grows worse.
“An individual with multiple personalities can change their body chemistry with their thoughts.”
Directed by S.F. Brownigg and released in 1973, Don’t Look in the Basement is an independent horror film that was unfortunate enough to fall foul of the UK media upon it’s 1981 home release; yet fortunate enough to not be prosecuted under the Obscene Publications Act in 1985.
For me, Don’t Look in the Basement was an impulse buy on home video, spurred on by the film’s cult status and history as a ‘video nasty’.
“The line between sanity and madness can be crossed in a single step. And with this step you enter the nightmare world of terror. On the day the insane took over the asylum!”
What a delightful coincidence that the young actress in Gore Verbinski’s latest feature A Cure for Wellness should be named Mia Goth. Never has an appellation been more appropriate.
A Cure for Wellness proves to be an audacious, intoxicating, feverish piece of cinema – administering copious doses of Freudian symbolism and classic Gothicism. If you’re not a fan of things Gothic, or if you suffer from ichthyophobia, this may not be the film for you…
“Do you know what the cure for the human condition is? Disease. Because that’s the only way one could hope for a cure.”
In Rings we have the [second] long anticipated sequel to The Ring, the English language remake of the hugely successful Japanese horror Ringu. We also have a kind of Samara origin story, but this storyline seems to be less a labour of love, and instead, rather laboured.
Ringu, the celebrated Japanese horror movie that started it all, was released in 1998. We should remember that in the dark ages of the nineties, VHS tapes and creepy death-threat calls through landlines were not as yet, a form of ancient technology.