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.
Marko Mäkilaakso, director and co-writer of the sci-fi comedy/horror film It Came from the Desert, was kind enough to let us ask him some questions about his movie, his background, and his thoughts about horror and filmmaking.
“It Came from the Desert is inspired by the films I grew up with and love. It’s actually the most perfect film to show who I am as director. That’s why this is my most personal film.”
Marko Mäkilaakso’s movie It Came from the Desert evokes the creature features of the 1950s by way of the late 80s, making it a cheesy, nostalgia-packed thrill ride from start to finish. Inspired by the 1989 video game by Cinemaware, it never once takes itself too seriously, and keeps you watching with clever effects, over-the-top action sequences, and a number of hysterically funny lines that are sure to offend. What more could you ask from a monster movie?
“Okay, listen we need your help. We’re trapped by this giant ant… A giant freakin’ ant!”
The name Ken Foree needs no introduction in the horror world. A tremendous, versatile actor who’s familiar with fans of the silver and small screen, but will always be a legend to horror fans since his breakout performance in Dawn of the Dead.
“It was the seventies and racism was as prevalent as it is today.”
When an alien from another world crashes to earth via meteor and takes human form to hide in plain sight, it’s not rocket science to establish they’re not here to do any good. In fact all nastiness is planned as it’s on the hunt to impregnate a female to birth its own spawn!
The Spawning’s premise is simple enough, with clear influences of 70s & 80s British low budget sci-fi which I do have an affinity for, so I was so wanting The Spawning to succeed. Unfortunately what we get is a strained affair that may have played out better as a short.
“To save his race, he will devour yours.”
Craaaazy killers decked out in scary masks, wreaking havoc on Halloween night! Pretty spooky plot for a film right? Eeeeh, you’d think so wouldn’t you. All Hallows, and the anonymity it provides those with devious tendencies has been an informative and conducive background to some of our cherished seasonal classics. So, for the premise to be utilized once again comes as no real surprise. Unfortunately, neither does ANYTHING in Bryan Coyne’s Bad Apples, which strives for Carpenter charisma, but winds up leaving a bitter taste in your mouth.
“Rotten to the core.”
Director Uwe Boll shouldn’t need much of an introduction to film fans. Quite the controversial figure, it seems if he’s not making films that divide opinion, he’s pissing off the people that are.
“Independent movies are dead. What we have left are TV shows, $200mil studio movies and some Oscar contenders. The rest will be $100k movies shot by amateurs and wannabe filmmakers.”
There’s an old saying about how you can choose your friends but you can’t choose your family. You also can’t generally choose your neighbors, and sometimes they can be even harder to avoid than family. It can be a real risk to try to befriend a neighbor, because if it all goes wrong somehow your only option is to pack up and move, and that’s a hassle nobody wants. Still, in Under the Tree, both sets of neighbors would have been much better off if they’d fled to opposite sides of the country. Admittedly Iceland isn’t a very big country, but that might have worked.
“Two families. One tree. A bloody mess.”
Arrow Video are quickly becoming heroes to horror fans that cut their teeth on the genre in the 80s. Regularly releasing the type of titles that you would be fascinated with in your local independent video shop, it gives those of us who excitedly gorged on the type of low budget horror these shops stocked a chance to re-watch them with modern eyes, and those too young to rent them a chance to finally get their hands on them.
“They ooze. They slime. They kill.”
Depeche Mode, Gary Numan, Morecambe and Wise, Sooty(!), Charles Bronson, Laura Dern, Johnny Rotten, Iggy Pop, Clive Barker… Apart from all being huge stars across various mediums (especially Sooty), they all share one specific thing in common… Barbie Wilde.
“At the Hellbound audition, I met Tony Randel, we had a chat, and the next day, I got the job. It’s funny, because I nearly didn’t go to the audition, as I thought that they were looking for someone to play the Chatterer character and I found that particular Cenobite far too scary in the first film.”
When you think back to the 80s, the true golden age of horror, there are certain films that define their sub-genre. I’m thinking of Fright Night and The Lost Boys defining the Vampire sub-genre. And the ones that (for me at least) defined Werewolf films are the likes of An American Werewolf in London and The Howling! One of the downsides from making a genre defining film though, is that there will invariably be a sequel (or sequels) that just can’t live up to the original’s quality. This has happened with Howling II …Your Sister Is a Werewolf.
“It’s not over yet.”
I’m not a fan of action films. You know the ones, purely ‘Action’. I hate car chases. DESPISE ‘em! I hate things exploding left, right and centre. I hate overly-long gunfights. They annoy me and make me all fidgety. John Wick is an action/thriller, directed by two stunt men and stars Keanu Reeves. “WHY ARE YOU WATCHING THIS, YOU FUCKING MASOCHIST?!!” I hear you shout, and you’d be right to ask. I dunno. But I’m SO glad that I did! John Wick is an ex-hitman, grieving for his recently deceased wife. When the son of a mob boss takes a liking to Wick’s car and decides to take it, bad things happen.