Gaining accolades at film festivals around the world, The Shape of Water, Guillermo Del Toro’s latest feature, is part tribute, part pastiche, of the post-war monster movie. In his recent talk at the London Film Festival, Mr. del Toro affirmed: “Monsters are evangelical creatures for me. When I was a kid, monsters made me feel that I could fit somewhere, even if it was…an imaginary place where the grotesque and the abnormal were celebrated and accepted.”
The Plastic Fang collection is a place within Fright-Rags that allows their team to create t-shirts that do not fit the horror genre specifically. When was the last time you saw a really cool, original shirt for Little Monsters, The Wizard or The Running Man?
“We take the shit, we smash the shit, and then we put the shit back.”
“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
The Dead of Night Film Festival took place at The Atkinson, Southport, UK between 20th-21st October 2017. Overall this was a brilliant festival with two films – Sequence Break and The Corpse Series – which I would put in the top 10 films I’ve saw this year. I’d definitely go again next year.
“Made for horror fans by horror fans.”
With the dark days of winter well and truly upon us, Indicator dares once again to venture into the vaults of the UK’s most celebrated purveyor of chills…
Available 19 February 2018, Indicator presents Hammer Volume Two: Criminal Intent, and Stanley Kramer’s Oscar-winning drama Ship of Fools.
“Explorer, Mistress, Vagrant, Loafer, Artist, Tramp… They are all at the Captain’s table!”
Kicking off its release schedule for 2018, Indicator has delightfully announced UK Blu-ray premiere editions of four era-defining American films.
Published in limited runs, these first pressings also contain Limited Edition exclusive booklets containing newly commissioned writing, contemporary articles and reviews, and full film credits.
“When he runs out of dumb luck he always has genius to fall back on!”
“You ain’t got to pull that Blacula shit with me.” The line is an attempt to link what seems to be a half-hearted star-vehicle with something else: blaxploitation. By simultaneously comparing Murphy’s ’90s effort with its ’70s predecessor, whilst slyly digging at the older genre’s foibles, the gag it is a somewhat noble, if pithy, effort to give Vampire in Brooklyn more heft.
“Interesting. I’ve been stabbed, and I’ve been hanged, and I’ve been burned. Even broken on the rack once, but I’ve never been shot before. Kind of itches a little!”
The best movies of the eighties either celebrated frivolity and gave us great entertainment, or rejected norms and pushed the boundaries towards broader innovations. Eighties indie movies were especially bold in this regard, and few directors tackled social and personal shape-shifting as deftly or entertainingly as Jonathan Demme.
The aptly titled, Something Wild gives us everything the eighties were famous for: laughs, sex, craziness, danger, secret lives, violence, drugs, nasty things in small towns and a great pop music soundtrack.
“Something Different. Something Daring. Something Dangerous.”
The most accomplished horror filmmakers aren’t really interested in delivering easy shocks or jump scares. What they try to do is chip away at the layers of defence we have created in order to protect our delicate psyches. To do this, they often try to tap into our most primal fears – conscious and unconscious. I will elaborate later on what these seem to be in the case of Spring. On first impression, Spring appears to be a form of ‘boy-meets-girl’ story, but the seemingly simple plot delves deeper into the impulses of love and commitment than the usual Hollywood product.
“Love is a monster.”
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.”
Out of all the bizarre trends the ’80s hoisted upon pop culture, ninjas have to be among the most prolific. Suddenly, any two-bit action flick schlock factory received a license to render their product “mysterious” and “exotic,” just by decking out half their actors in black long johns. Never one to pass on a fad that could net them some extra bucks, the Cannon Group gladly hopped aboard the martial arts bandwagon, putting out a series of cult cheesefests that included 1985’s American Ninja.
“The deadliest art of the Orient is now in the hands of an American.”
The Mission (1986): Other than the all-star cast—Jeremy Irons, Robert De Niro and Liam Neeson—the score of this historical drama by Ennio Morricone alone makes it material for a best of list, and while it’s not the only great reason to watch the film, it’s definitely one of the reasons you’ll come back for more.