Does comparing Pat Tremblay’s Atmo HorroX to John Boorman’s classic Zardoz elevate one, diminish the other, or condemn both? Both films are psychedelic, trippy, and include protagonists that wander around in outlandish costumes that show rather more skin than most of us would like to see. Both are infused with timely messages, expressed through grotesquerie. Despite the dubious value of the venture, reams could be written deconstructing both films. If nothing else, we know that movies like Atmo HorroX are extremely rare…
By now, everyone should be familiar with the Slenderman phenomenon. The internet is full of stories and videos claiming that it is a real creature or being. Slenderman’s background and motivations have never been satisfactorily explained and there are lots of stories that contradict one another. It is in this vein that Flay was created. Seeking to explain the origins of Slenderman and tying it into the genocide of the Native American people by European settlers, Flay gives us an origin for Slenderman that is brutal, sad and rather unsatisfying.
“Come out and flay with me.”
Growing up isn’t easy and if I’m honest, I’m still having trouble coming to terms with it. But sometimes the decision to live as an eternal kidult is taken away from us, with youngsters shouldering the responsibility of primary caregiver. Such is the case for twelve year old Jonas, who finds the transition to enforced adulthood a struggle in Mara Eibl-Eibesfeldt’s bittersweet gothic fable The Spiderwebhouse. Gentle and ponderous The Spiderwebhouse is a charming portrayal, exploring the complexities of depression, and the harshness of a world as seen through a child’s eyes.
“Oh spider, oh spider, oh bring me to the place where I’m not.”
We are here to discuss a horror movie that uses the formula of found-footage. No matter how many times you review a film that uses this technique you can’t help bring up The Blair Witch Project. Unfortunately there will always be comparisons. Films have tried to replicate this style, but rarely succeeded in finding that magic ingredient The Blair Witch Project possesses. Fortunately Hell House LLC breaks the mold. Going into this movie I’ll be perfectly honest I didn’t expect much. In my defense I have had to suffer numerous found-footage movies over the years that are absolute trollope.
“New York’s scariest haunted house tour.”
When Netflix dropped Spanish director Paco Plaza’s new film Veronica earlier this year, I doubt even they predicted it would get the attention it’s had? Some people have dubbed it “the scariest film ever!” and it’s supposedly based on a real events, so naturally I had to check it out to see what all the fuss was about. I’m a fan of Plaza’s [•REC] movie so I knew he would cook up some decent scares.
The story is set in Madrid in 1991 and focuses on teenager Veronica.
“Someone answered your call.”
Masks, dressing up and spooky Halloween tunes. When you think of Halloween your mind turns to, what will I wear? I need to look good for trick or treat. This was before you watched Halloween III: Season of the Witch. Tommy Lee Wallace creates a nail biting movie which plays on all the main things that make Halloween and trick and treating fun. He turns it on its head, pardon the pun and terrifies the life out of anyone choosing to wear a mask and watch TV during the Halloween season. This classic horror uses three different types of mask; a pumpkin, a ghost and a witch.
“The night no one comes home.”
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.”
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.