The Indie Corner: Zombie Short ALICE JACOBS IS DEAD Now Available To Stream Or Own

We reviewed Alex Horwitz' outstanding zombie short Alice Jacobs is Dead just over a year ago (full review here) and screened it at one of our early screening presentations. At the time we hailed it as one of the most captivating enteries in the zombie genre in a long while. It features a pair of heartbreakingly beautiful performances from John La Zar and Adreienne Barbeau as a husband races to find a cure for the zombie strain that infects his wife.

After a year of playing festivals and special screening events (including Chiller Theater for no less of an audience than George Romero and the cast of Dawn of the Dead) the short film is now available for a much larger audience.

You can now order Alice Jacobs is Dead from Amazon or stream the film via IndieFlix. It's less than $2 for a 30 day window to stream the film and less than $6 to own the DVD. This is cash well spent for one of the best enteries in the zombie genre period.

If you order the DVD bonus features include: writer/director commentary, Carl Kessell (NPR) "Zombie News", Behind the Scenes Featurette, Deleted Scenes & Trailer

Order from "Alice Jacobs" via Amazon

Stream at IndieFlix 

"Wonderfully macabre... a terrific contribution to the literature of the dead." - George A. Romero. 

"A well made and somber look at how the world ends, not with a bang, but rather with a broken heart and a disembowelment." - John Landis

BleedFest Breaks Out the Blood, Movies and Free Ice Cream For Women in Horror Recognition Month

Now in its third month, Elisabeth Fies BleedFest continues to expand in scope while celebrating the talents the women creating some of the most kickass underground genre films. Since February is Women in Horror Recognition Month, one would expect BleedFest to step up with a massive event. Ms. Fies is one not to disappoint. Along with a program packed with film, there will be a blood drive. Donors can save on tickets to the fest AND get a coupon for a pint of Baskin Robbins. Kick ASS! For full details, along with the listing of films, read the press release below:

Monthly female genre film festival BleedFest is throwing an epic event February 6th, 2011 in honor of Women in Horror Month. There will be a Blood Mobile parked outside the CAP Theatre from 10:30am-4:30pm. Donation appointments can be made by clicking on this link: http://bleedfest.givesblood.org All donors are eligible for half off tickets to the BleedFest Film Festival until the event is sold out, in addition to a pint for a pint Baskin Robbins coupon.

The BleedFest WiHM screening event begins at 11am and ends at 4:00pm. There will be three red carpet opportunities with a dozen press partners and photographers from Getty Images and PR Photos. The event will feature an open bar with Bloody Marys. Screenings include short horror films written, directed, and produced by female filmmakers, including wunderkind Xstine Cook, international filmmaker Ana Almeida, tyro horror writer/director Tyrell Shaffner, festival stalwart Susan Bell, BleedFest co-founders Elisabeth Fies and Brenda Fies, Lori Bowen with a short and a music video, alumna Marichelle Daywalt with the world premier of THE MANY DOORS OF ALBERT WHALE starring Tara Cardinal and Kit Williamson. 

The feature film is the US premier of SLAUGHTERED, a slasher whodunit by Australian writer/director Kate Glover. VIP guests include Lil Zane, award recipients Katt Shea and Stacy Title, genre journalist Nic Brown from Kentucky, underground filmmaker Lori Bowen from Florida, actresses Tara Cardinal and Michelle Tomlinson, and horror director Kevin Tenney. Carl Manes of I Like Horror Movies will reprise his popular horror trivia with giveaways. A showing of Dark Art and Fine Art will be available for purchase by internationally renowned horror photographer April A. Taylor.

The Awards Show will include the audience’s choice for best short in competition, and Elisabeth Pinto will receive the Best Producer Award. Horror icon Katt Shea will be given the Inanna Trailblazer Award. Stacy Title will be awarded the Inanna Best Social Statement Award. The Inanna Award was designed exclusively for BleedFest by amazing horror filmmaker and mask-maker Neal Harvery of Rubber Gorilla. 

BleedFest sponsors are Film Radar, Werewolf for Hire.com and B Movie Man, WriteWord PR, Burris Image, Monster Island Resort, Rubber Gorilla, Christina Wickers.com, Love That Rebecca.com.

BleedFest operates on donations, and is holding an IndieGogo Fundraising campaign at: 

http://www.indiegogo.com/BleedFest-Film-Festival-genre-movies-by-women

BLEEDFEST BLOOD DRIVE

Date: 02/06/2011

Time: 10:30 am - 4:30 pm

Organization: BleedFest

Location: CAP Theater - Blood Mobile

Address: 13752 Ventura Blvd.

Collection Goal: 20 pints with 2 donors per 15 minutes

BleedFest Film Festival

February: WOMEN IN HORROR MONTH

Sunday February 6th, 2011

TIME: 11am-4:00pm

Location: CAP Theatre

13752 Ventura Blvd.

Sherman Oaks, CA 91423

$10 cash at door for all day ticket and open bar

http://www.BleedFest.com

Special Appearances by Lil Zane, Katt Shea, Stacy Title, Lori Bowen, Tara Cardinal, Kevin Tenney, Michelle Tomlinson, Nic Brown. Schedule subject to change, personal appearances dependent on schedule.

11am-11:10am RED CARPET, MIXER

11:10am-2:20am PARTNERSHIP AWARD RESCREENING

HORROR OF OUR LOVE by Dave Reda (7 minutes)

11:20-11:30am TRAILBLAZER AWARD

Inanna Award presented to Katt Shea

11:30-11:50pm AWARD: Best Female Producer

NIGHT OF THE HELL HAMSTERS Produced by Elisabeth Pinto (17 minutes)

11:50-12:00pm AWARD: Best Social Commentary

Inanna Award presented to Stacy Title

12:00-1:25pm SHORTS: In Competition

*******Ballots given to audience*************

SUCKATHUMB by Xstine Cook (10 minutes)

THE PATCHWORK MONKEY by Susan Bell (10 minutes) Q & A

ESSENGER by Lori Bowen (4 minutes)

AFTERSHOCK by Lori Bowen (3 minutes) Q & A Lori Bowen

MIRROR MIRROR by Sophia Segal (4 minutes) Q & A

MEOW by Sarah Brown and Cyriak Harriss (3 minutes)

A NOIVA (AKA: THE BRIDE) by Ana Almeida (7 minutes)

THRENODY by Tyrrell Shaffner (12 minutes) Q & A

THE MANY DOORS OF ALBERT WHALE by Marichelle Daywalt (5 minutes) Q & A

*******Ballots collected from audience*************

1:25pm-1:45pm BREAK: Open Bar, Red Carpet, Mixer

1:45-2:04pm WORKS IN PROGRESS

HARD TO DO by Elisabeth Fies & Kit Williamson (8 minutes)

PSYCHOSEXUAL by Elisabeth Fies (8 minutes)

2:04pm-2:15pm PARTNERSHIP AWARD

HOME by Cam McCulloch (11 minutes)

2:15pm-2:25pm AWARD CEREMONY

Award presented to Marichelle Daywalt

Award presented to Tara Cardinal

Inanna Statue presented to Cindy Baer (Audience’s Choice from December)

Inanna Statue presented to the Audience's Choice

2:25-2:35 BREAK: Open Bar, Bathroom Break

2:35-4:00pm FEATURE

SLAUGHTERED written and directed by Kate Glover (83 minutes)

Everyone's getting slaughtered in the pub tonight!

The Indie Corner: Getting Awesome With MAKE-OUT WITH VIOLENCE

Imagine an alternative version of the 2008 film Deadgirl, one that isn’t populated by completely reprehensible characters that leave you wanting to high five them in the face with the business end of a working lawnmower and you have a decent starting point of reference for Make-Out With Violence. The work of the creative team known collective as The Deagol Brothers, Make Out played the festival circuit since 2008 before getting a home video release at the end of last year. If you read my Best of 2010 list, you know I’ve got love for this film. It’s an entry in to the sub-subgenre of Found zombie films, which is not to be confused with found footage. More to the point, it’s a coming of age story wrapped in a love story with the horror elements a fringe consideration. I know that sounds weird for a film about a dead teenager that comes back as a zombie whose friends try to nurse her without becoming chow, but that would best sum it up.

Make-Out With Violence tells the story of three brothers: fraternal twins Patrick (Eric Lehning, co-director) and Carol (Cody de Vos, co-writer) along with their younger brother Beetle (Brett Miller), and what the boys do when the stumble upon the reanimated corpse of their missing friend Wendy. Beetle and Carol find the girl tied between two trees and abandoned. The film never explores how she came to be reanimated and eventually captured because it’s not the story the Deagols care about. The boys decide to take Wendy to an empty home they’ve agreed to housesit for a friend, and they do their best to revive her or at least make sense of an abnormal situation. While dealing with what to do for Wendy, things get, well weird for the brothers. Patrick harbored a longstanding crush on Wendy, but never made a move. At times Patrick treats the reanimated girl like his girlfriend, but he often finds himself repulsed by her and at odds with how to take care for her. He has a mild interest in what makes her tick, oftentimes hurting her in the process.

The film takes place in a non-descript suburb in an undefined year (though I’m guessing it’s the late eighties or early nineties due to the lack of smart phones, computers, texting along with the abundance of landlines and bike riding. What does it say about me that I love a movie just for the fact that it’s characters are happier to pedal around town rather than hop in daddy’s Beemer?) The film’s tone seems like a cross between a Wes Anderson flick and John Hughes in his mid-eighties prime. The film’s filled gives us the oddball quirks the former is known for, but it replaces Anderson’s sense of ironic detachment with teens that have the painful self-awareness of the latter film maker’s work.

At the core of the film is each of the friend’s reactions to Wendy’s death. MOWV does a tremendous job of letting its characters cut loose and act like the goofy teenagers they’re supposed to be. At the same time, the specter of their dead friend looms over them, and this last summer, a time when they’re supposed to have one last round of good times before taking the first tentative steps of adulthood is marred by the In some ways, they’re a little jealous of her. She’ll remain seventeen forever-always beautiful and unaffected by the crushing blows the rest of the world can’t wait to deliver in quick succession as the years march on. Patrick grows weirder and more disaffected the longer he spends time with Wendy, eventually shutting out his brothers and friends completely. For Carol, who has always been an odd duck, and endearing one for sure, but odd all the same-trying to revive Wendy brings out a new confidence in his character. Rodie, well Rodie gives a shit about Rodie and he bails on his friends. We’re left with Addy-Wendy’s best friends and the object of Carol’s longstanding affections.

It’s the courtship between Addy and Carol that makes up the heart of the film. After the funeral, Addy comforts/seduces Wendy’s boyfriend Brian. It eats her up inside, and in some of the most painfully honest moments of the movie we glimpse at how much Addy must have resented playing second banana to her friend at times. As Addy, Leah High makes you fall head over heels for her, and I’ll admit it bums me out to great lengths to see her IMDB page is empty except for this film and one other Deagol Brothers short film. While she’s trying to wriggle herself in to Brian’s good graces through means of offering “sleaze comfort”, she’s initially unaware of Carol’s feelings for her. For one half of the twin brothers, feeding and caring for a zombie is the easy part. Telling your best friend you’ve been in love with her for years? Not so much. But Carol has his own plan to get with Addy, and it simply involves being around her and being awesome. He brings the fun. Yet while Carol starts to come in to bloom, he's left Patrick to wither. The brother's inability to raise any of his friend's old spark gnaws away at him. As the summer drones on, a darker, antagonistic Patrick emerges.

Though we only see a few snatches of Wendy in life, the quick glimpses show us some one bright and cheerful, someone beautiful and it’s easy to see why people gravitated easily towards her. These moments make her zombie appearance all the more jarring. Apparently Shelley Marie Shartzer had no interest in playing a living person, but as a self professed zombie nut, she jumped at the chance to play one of the undead. The warm young woman that laughed easily while soaring through the air on a trampoline has been obliterated. What’s left of the husk movies with the herky-jerky movements of a wooden doll flicked about on its strings by its puppeteer.  The effect of her movements combined with the lights of her eyes being extinguished and replaced with a facing-forward blank stare and the subtle makeup work that gives her an odd coloration create a jarring effect.  

Make-Out is a hard movie to pin down. If you’re looking for standard horror fare, you’re going to be left disappointed. The first time I watched the film, I kept waiting for the inevitable moment Wendy would infect one of the brothers, leading to the usual outbreak. That moment never comes. At about the midpoint I came to the conclusion I just kind of loved the characters. The horror doesn’t come from your typical source in a zombie film. There’s no never ending crush of brain eaters shambling through homes and breaking down barricades. Fear comes from dipping those toes into the waters of adulthood while not being quite ready to leave childhood behind. If you can get past the blend of genes-horror mixed with a coming of age story mixed with romantic dramedy, then Make-Out rewards you with a near fairy tale like film. 

The Loveliest Ladies In Horror Host Clothing Drive For The Covenant House

Hey dear readers, it's time to do a little pre-spring cleaning for a great cause. Why not head in to your wardrobe and pack up the clothes you keep telling yourself that you'll fit in to again "one day" and give them to some people that truly need your help. 

EVENT:  Women in Horror Clothing Drive to benefit Covenant House

Date:  Saturday February 12, 2011

Location: Dark Delicacies 

3512 W. Magnolia Blvd  Burbank, CA 91505

Time:  2:00 pm to 6:00 pm PST

It’s Women in Horror Month (aka February) – created by Hannah Neurotica, and your favorite Scream Queens, Horror Actresses and Horror Icons are at it again!

All fans of everything horror are invited to join the hottest Scream Queens and entertainment celebs at Dark Delicacies for a meet and greet – and a little giving back to the community.

Tara Cardinal

Headlining the event are some of the top names in Indie Horror including: Elissa Dowling, Victoria DeMare, Monique Parent, Rachel Grubb, Eileen Dietz, Michelle Tomlinson, Mo Whelan, Reyna Young, Melissa Krimsky, Brooke Lewis and Tara Cardinal. Many more are expected to make appearances to support the event.

The Clothing Drive aka “Strip for a Cause” hosted by Actress Tara Cardinal, will benefit the LA Chapter of Covenant House. Representatives from Covenant House will be on hand to collect donations. Covenant House California is a non-profit agency whose mission is to reach out to at-risk homeless youth living on the streets and offer them opportunities to turn their lives around, and your donations are tax deductible (Miss Cardinal will be personally autographing your tax donation receipts). In addition, several of the Scream Queens are offering discounts on their merchandise for sale to anyone who donates new or gently used clothing. Tara Cardinal will be offering autographed copies of her Warner Brother’s film “Delivery” for only $5.00 to anyone who donates. Items specifically requested by Covenant House are as follows:

Gift Certificates – all kinds, food stores, clothing stores, restaurants, movie stores, book stores etc…

Every day Essentials (Large & Plus Sizes needed!), Underwear, socks, gently used bras, T-shirts

Clothing and Accessories (Large & Plus sizes needed!) – Professional and casual clothing appropriate for older teens and young adults – shoes, ties, belts etc..

Personal Items – iPods, Walkmans, watches, jewelry, cologne, perfume, bath and body gift packs, sunglasses, batteries (all sizes)

So come out, meet the girls, get your memorabilia - and bring something for the kids. 

Dark Del’s is also hosting a food drive! Your non-perishable food items are greatly appreciated and will go to feed the homeless and hungry in Los Angeles. 

Dai Green

Our gracious hosts for the event are DAI GREEN (horrornews.net) and owners of Dark Delicacies: Sue and Del Howison.  Dark Delicacies is your one stop shop for all things horror in Burbank, CA.

You may visit www.darkdel.com for more info.

California Tax ID 13-339-1210

www.covdove.org

Since 1988, CHC has impacted the lives of more than 160,000 homeless youth out of our Los Angeles and Bay Area locations. More than 80% of their funding comes from private donations.

In Honor of Fact Cat

PLANET OF TERROR Unleashes A New Podcast On An Unsuspecting World

Our good FOATH ("Friend Of All Things Horror") James Cortez made his podcast debut today with the new, aptly titled "Planet of Terror Podcast".

While Cortez the Killer may make apologies for the technical and presentation glitches just about any debut show encounters, don't let this deter you from giving this a listen.

Here's why-James loves horror. Loves it enough to look far past the soft and runny underbelly of the never ending string of disappointing mainstream horror that bores cinema goers to tears nowadays. Loves it enough to dig both hands into the dirty underground and pull out the films buried way underground, far underneath layers of beautiful muck and grime. He gets shoulder deep in the  dirt and pulls out indie horror gems, wildly flinging mud in all directions while screaming in delight and what's he's found.

In short, if you're looking for the eight hundredth podcast that's going to give you their take on why John carpenter's Halloween is a masterpiece, this (probably) isn't it.

If you're looking for something like the Dread Central podcast, where four guys spend an hour ripping a film they've spent month cashing fat advertising checks on to shreds while bemoaning the lack of recent quality horror Comic Book guy style, this definitely isn't the podcast for you.

The debut episode features a pair of special guests: Adam Rehmeier-writer/director of the warped indie gem The Bunny Game  (IMDB link) as well as the lead actress from the film Rodleen Getsic.

Check out the podcast via the link below, and of course, you can subscribe to it via iTunes as well.

PLANET OF TERROR PODCAST

The Indie Corner: FUGUE screener review

Barbara Stepansky’s (Hurt) latest film straddles the line between modern ghost story and thriller material. When Charlotte Vale (Abigail Mittel) returns to her new home with her older boyfriend Richard after spending nearly a year in a coma, her life initially seems to be back on track. Though she’s recovering from an unspecified accident, she has a beautiful new home and discovers she’s pregnant.

Domestic tranquility is short lived however as Charlotte becomes convinced something other worldly lives in the home and is none too keen on the couple’s presence. While it sees harmless at first, cold air rushing by her and such, things begin to escalate and she finds a tooth buried in her garden, followed by the ground spitting up blood. A spiritual house cleansing by a shyster does nothing except escalate events. Soon Charlotte finds herself terrorized by a faceless spirit, hell bent on revenge. To make matters worse, she can’t shake the feeling that she knows this woman, and that the goings on seem eerily familiar. While I normally hate the now cliché shot of someone running across screen just out of the main character’s view, Stepansky’s actually startled the hell out of me with this type of scare as Charlotte searches her house for her antagonist.

Complicating matters further, Richard seems awfully cagey about Charlotte’s fears, going from skeptical to secretive as to what might be causing Charlotte to have threes extrasensory experiences. At one point he “grounds” her, much like a father punishing a misbehaving child, by banning her from the back yard. He goes so far as to padlock the fence to the yard to keep her out. Rather than deterring her, Richard only drives Charlotte to further investigate what’s going on.

It turns out Charlotte has suffered a traumatic miscarriage after Richard’s enraged ex-wife Victoria attacked her one day. Her doctor tells Charlotte she managed to kill Victoria in self defense before succumbing to her wounds. The events of that day were so horrific medical advisors recommended Richard do anything in his power to block her from discovering them. He goes so far as to make her believe that they’ve just moved into their home, even though she’d lived there prior to the attack.  It’s up to Charlotte to determine whether the violent events of have left a psychic imprint on the home, or whether she’s reliving the worst events of her life in snatches.

Fugue follows Paranormal Activity’s lead as a ghost story that removes the paranormal from its traditional gothic trappings and evokes a sense of dread in the normally safe confines of a suburban home. The flashbacks and ghostly snippets make for some outstanding scares. In particular, the moments Charlotte finds herself trapped in a garage and unable to shake the feeling that something has set its sight on her. Stepansky lights this scene in spectacular fashion as the camera pans around Charlotte, she’s perfectly silhouetted in pitch black. It’s a moment that should have audiences holding their collective breath, waiting for something to jump out of the shadows.  Though the house seems sunny and well lit (and as a fun bit of trivia-it’s Ms. Stepansky’s actual home) the walls seem to constrict themselves around Charlotte as the film progresses. There are increasingly tight shots, making the surroundings appear choked and oppressive.

It doesn’t hurt that Abigail Mittel is impossible to not watch, and she’s on screen for just about every second of the film. She’s stunningly beautiful, but-if this makes any sense-in a “I could totally approach this woman at a coffee shop and maybe not get completely shut down in five seconds” kind of way. Despite the vulnerability inherent in a character that’s just come out of a coma unable to remember a good chunk of her recent past, Mittel plays Charlotte as a woman absolutely determined to get to the root of what’s wrong with both her and her home.

Admittedly the proceedings come a bit off the rails in the third act, as the supernatural angle veers into a more traditional thriller/stalker twist. I’ll say this much-I never saw it coming, as it involved some head scratching decisions by Howard, as he seems awfully sympathetic to a person that’s caused him nothing but grief.  The films climax veers towards Inside territory, though not quite as extreme in the gore department (there’s a couple good kills and wince inducing moments however) as Charlotte finds herself stalked and forced to fend off a woman that would like nothing more than to rip her apart limb by limb.

Stepansky does a remarkable job making you feel for the “villain” of the film. It’s not difficult to get to the root of Victoria’s rage and it’s easier still to empathize with her. She subjected herself to probing doctor’s hands and a concoction of fertility drugs, all the while traumatized and vulnerable over the idea that her body was betraying her and stripping her of an essential component of what made her a woman. In the midst of this, her husband takes up with a student, essentially trading his wife in for a younger, tighter and more fertile version of her. To cap it off, the new girl gets pregnant, with the child growing inside mocking Victoria and her failed efforts to provide a family. Amidst all these stressors, it’s easily to understand how she’d snap and lash out at Charlotte.

As mentioned, I’d have preferred the last act keep towards the previous supernatural leanings. I can forgive the shift in tone in that I didn’t see it coming and still didn’t feel cheated, and also appreciated it’s tough to punch a ghost in the maw. With a fantastic performance from its lead, some uber creepy moments and terrific use of the home setting, Fugue manages to lift itself above standard thriller fare.

Fugue plays as part of our Women in Horror Recognition screening night Wednesday February 2^nd at the Somerville Theater. Tickets are five dollars and the program starts at 8pm with the short film Morbid Curiosity, Ugly On The Inside and Scream Queen.  

We Got Game: DEAD RISING 2 review (PS3)

I knew I was in love the moment my character, dressed in a children's super hero costume complete with cape and coonskin cap, blew up a zombie by covering its head in a Godzilla mask stuffed with a bottle rocket. Everything else was just gravy.

Despite its flaws, the first Dead Rising Game for the XBOX 360 went from a cult hit to smash hit for one reason: people want to fight hundreds of zombies at once. Taking a cue from Dawn of the Dead, the game was set in a shopping mall at the onset of a zombie outbreak, and its interactive environment allowed for just about anything- knives, shotguns, clown cars, gumball machines-to be used as a weapon against a never ending army of the undead. It remains one of the most replayable games on this generation of consoles.

This isn't a cut scene, it's just one example of how many zombies DR2 let's you take on at once.  

So it's no surprise that the Dead Rising 2 takes the formula that worked so well, and simply amplifies it for this go round. DR2 is the third horror related sequel I played this year with the others being Bioshock 2 and Fallout New Vegas. All of them stuck to the formula of the previous game, but only Dead Rising's follow up made any strides forward and actually improved on the game playing experience.

Dressing Chuck in silly costumes is one of the games many humorous highlights

This time around, the zombie outbreak has been somewhat contained, though they remain something you that has to be dealt with every day. Players take control of former motocross champion Chuck Greene. at the outset, he's been reduced to competing on the game show Terror is Reality, where participants hack up zombies for cash. Chuck needs the dough to buy Zombrex for his daughter, as the medication keeps her infection at bay. Without warning, the zombies that had been kept at bay overrun Fortune City (a fictitious stand in for Los Vegas), Chuck has to protect his daughter, get her meds and to make matters worse-find a way to clear his name as he's been falsely accused of starting the outbreak. He has three days to find out who's behind everything before the military arrives to clean the situation up.

Dead Rising 2 acts as a showpiece for what the Playstation 3 and Xbox 360 are capable of as developers now know the ins and outs of the systems. The game simply looks gorgeous. An overabundance of Romero style shambling zombies choke nearly every inch of your screen, leaving it impossible to let your guard down for a moment lest you become zombie chow. On the plus side, this gives you plenty of things to kill and nearly as many ways to dispatch the undead as there are on screen. Despite the HUNDREDS of  monsters on screen at once, the game never lags or slows down.

The game's environment has also ballooned this time around, with Fortune city providing a massive environment for players to explore. Yes, you'll still spend a lot of time in the mall, but you'll also explore the boardwalk strip, casinos, theaters, sporting areas, hotels and more. Just like the first game, nearly every object in the field can be picked up and used as a weapon. Of course, some weapons are more functional than others, and if you're given the choice of a chainsaw or toy spitball gun, choose the former.

Like the first game, missions occur at specific times. If you take too long to start or complete an objective, all the other ones that follow are wiped off the board. Be prepared to start your game from scratch. A lot.

However, one of the best innovations of the Dead Rising franchise is its creative use of the Level Up system. When you start a game over, you get to keep any improvements you've made. You keep all stats, all new abilities learned and all weapon combos unlocked. This makes replaying earlier events a breeze and a hell of a lot of fun as well.

The dreaded canoe paddle/chainsaw weapon. 

There are two ways to level up. One is to find survivors and escort them back to the safe house. This was one of the most frustrating aspects of the original game, as these characters typically wandered unarmed into a hungry horde of zombies despite your best efforts. This time around the rescue efforts are easier, with NPCs reacting with more intelligence, and even helping you out in a firefight now and again.

Of course, the better to level up and the game's main hook is to kill the bejesus out of zombies. The sequel replaces taking photos with the innovative combo system. Players can combine objects, such as a baseball bat and a box of nails, or a mop bucket and power drill, or a wheelchair and a car battery, or boxing gloves and Bowie knives or...you get the idea. These new and improved weapons give you bonus points, and make it easier to slice and dice the walking dead. As you gain more experience, you unlock combo cards, but the real fun is trying the kitchen sink approach and randomly combining items to see if they'll stick.

For those that like to play games online, there's new cooperative play and the Terror Is Reality multiplayer game, in which you compete with other gamers in a series of matches trying to wipe out zombies. the neat thing about the TiR mini-game is players get to import the cash prizes they've earned into the regular game, which makes it easier to buy weapon upgrades, Zombrex and other quirky items. One game has players charging at zombies while wearing an antlered helmet, then flipping the zombies on to a scale for points. Another has them rolling over zombies in a Zamboni, then shooting the liquefied remains into a giant open mouth for points.

We all know that there's going to be a massive zombie uprising in 2012. for the time being, it remains illegal to dig up the dead and practice o dispatching them again in preparation for the inevitable apocalypse. For the time being, the best way to hone your survival skills is to pick up Dead Rising 2.

Why We Support "Women In Horror" Recognition Month

The second Women in Horror Recognition Month kicks off in a few short weeks. The brainchild of Hannah Neurotica, editor of Axe Wound ‘zine, the campaign strives to highlight contributions of women in the horror genre as directors, writers, FX artists, producers and more.

All Things Horror plans to support this campaign in a few different ways. First, as part of our monthly film series, we’re hosting a series of films written and directed by women. We’ll also feature creator profiles on the site spotlighting the talents of female creators in the genre.

We support women in horror for the same reasons that we support independent horror. Mainstream film currently wallows in a funk with little hope for improvement on the horizon. Studios hone in on safe bets: tent pole franchises that haul in an opening weekend bonanza; franchise potential takes priority over whether or not the story is any good. Despite the rise of the megaplex, films no longer have the benefit of slowly growing through word of mouth and positive reviews as fewer movies play on more screens with the hope of recouping profit in two to three weeks time tops.

If film is going to once again have the power to captivate an audience in ways that resonates more than four color explosions or ninety minute advertisements for the toy franchise, then the revolution is going to have to come from the underground.  As such, it’s important to hear from as many voices as possible. Horror cinema, for all its flaws, has always been hailed as providing a foot in the door for aspiring creators. The fantastical elements of horror allow storytellers to explore the darker corners of humanity in ways conventional drama can’t touch.

The importance of infusing the genre with new talent, new creators and new ways to explore the things that terrify has never been greater. Horror fans are thirsting for originality not scaled back versions of the mainstream minus the financial and marketing backing. In the past year, I’ve been lucky enough to view films of a number of independent women creators. Their films tackle themes and subject matter from a perspective that I don’t find myself exposed to or influenced by on a daily basis. The films have sparked discussion with friends and fans that otherwise never would have occurred. There’s little to be gained from constant immersion in art that trucks in the same tried and true territory I find myself mucking about in on a daily basis. Stacy Ponder’s Ludlow paints a bleak, nightmarish vision of what it must be like to try and escape an abusive relationship. It explores both the physical and the mental angles of what abuse, where pills and booze try to make her characters forget that the real boogeyman is never too far removed from the shadows of the darkened room. There’s no safe, middle America approved Hollywood ending where the bad boyfriend is dealt with, and our heroine’s life moves with a clean break and fresh beginning. It covers terrain I’m not going to personally experience in my own life, while the unfortunate fact remains that too many women I do know would tell me how close to home that film hits.

There’s been minor controversy to the effect that centering a month around such a cause results in nothing more than throwing a token gesture to these women, and itself is a form of sexism with the result of creating a divide between the sexes, with the implication that women creators need a special event to draw attention lest they receive none at all.   To be clear, the Women in Horror month doesn’t exist to toss a token nod to the contributions of women in the genre. To do so would be insulting and counterproductive.  It’s about raising the awareness level, sparking conversation and building momentum. To make sure that the Devi Snively’s, Jen & Sylvia Soska’s, Barbara Stepanky’s and Elisabeth Fies are part of the conversation that includes Paul Solet, Ti West and Adam Green.  We simply hope to highlight projects, creators and websites that we’ll cover in greater detail as the year progresses.

With less than a month before Women in Horror Recognition Month kicks off in earnest, start asking what you can do to show your support. Support the Blood Drive. Give backing, and attention to the upcoming BleedFest, Viscera, Shriekfest and Stiletto Film Festivals (the last one’s in Boston). Finally, check out the link below for ALL the information on Women in Horror recognition month

http://www.womeninhorrormonth.com

Chris's Top Ten Horror Films of 2010 (Well, Top 11)

As we wave goodbye to 2010, I'd like to put out my own top ten list in addition to Mike's, which you can read here: Mike's Top Ten of 2010

While there is some overlap, you'll see that we don't agree 100% on everything. Otherwise, we'd have a pretty boring horror marriage being all pleasant with each other 24-7. Blech! You may notice that some of these are from earlier than 2010, but that's due to the ever frustrating lack of proper distribution for fantastic horror films. Luckily, we live in a city housing a number of independent theaters, most of which take chances on indie horror even if they are occasionally restricted to one time midnight screenings or brief weekend runs.

A lot of people have been complaining that 2010 has been a weak year for horror films. I beg to differ. You only need to look below the surface of what the big budget film industry is pooping out to find a number of envelope pushing horror films made with care by some talented filmmakers. In a year where remakes and sequels are still all the rage, you can still find some quality original work if you're willing to dig dig DIG. I've been pleased as punch to partner with Mike in helping get more true independent films out there with our monthly screening night. Sure, it's a small endeavor, but if we can inspire others to follow suit in their own towns, then that would rule. I'm very proud of what we've accomplished the past year screening films such as The Commune, Dawning, El Monstro Del Mar, Long Pigs, Frankenstein Unlimited, Dead Hooker in a Trunk, and a number of wonderful shorts.

I love making lists, but I'm not so much a fan of ranking things. In fact, I put my picks in alphabetical order just to be fair.

Amer (2009) - Chris's Review

This Belgian ode to Italian horror accomplished something that very few horror films achieve, and that was flirt with cracking my top ten of all time list. No, I'm serious. I loved it that much. The film making team of Helene Cattet and Bruno Forzani crafted a gorgeous tribute with an unusual, but compelling coming-of-age narrative. Told in three separate but connected vignettes, the film follows Ana in three stages of her life dealing with everything from sex to death. Every detail is perfectly rendered in capturing the essence of 70's cinema as well as the Giallo films it channels. Amer goes a step further by being a lot smarter, creepier, and more beautiful than a lot of the films it references.

Dawning (2009)- Mike's Review

Gregg Holtgrewe's little indie that could really caught me by surprise. Not only is it a stunning work of suspense, but it's also a nice little brain teaser with an ambiguous ending. Dawning is a simple story about a family on a weekend trip that encounters a frightening, inexplicable presence in the woods surrounding their cabin. While minimal in presentation, Dawning is layered with deep psychological exploration. It warns of the dangers of family dysfunction and victimization by one's own personal weaknesses. Holtgrewe's film is a truly claustrophic experience, one that leaves the viewer deeply unsettled. I absolutely love the effective use of eerie sound to bring the sinister woods to life. Don't be fooled: This isn't a typical "cabin in the woods" flick. Dawning is as much cerebral as it is terrifying.


El Monstro Del Mar (2010) - Mike's Review


No doubt inspired by some of the same drive-in movie reference points as Quentin Tarantino, this Australian monster flick was a hoot. It's really quite simple: it's a heartwarming story of a trio of beautiful and bloodthirsty ladies vs. a vicious sea monster set to a soundtrack of wonderful 60's tunes. I was quite pleased by the use of practical and stop-motion effects to portray the gigantic tentacled beastie. Additionally, this was a very well-shot film with a lot of artistry put into what could of been a throwaway B movie tribute.





Frozen (2010) - Mike's Review and Chris's Review

Adam Green's frigid horror film was a true film experience as I was left shivering in my theater seat. The minimal setting works very well in creating the proper atmosphere of a dire, inescapable situation. Although I wasn't totally sold on the characters, I did find myself rooting for them to live and not die. Adam Green succeeds in creating a harrowing, and (yes) plausible scenario rife with tension. My hat is off to the crew and actors who braved the obvious challenges of completing the film in tight, dangerous conditions.

Lake Mungo (2007) - Mike's Review

An Australian narrative film disguised as a documentary, Lake Mungo is one of the most frightening films I've seen in years. It's the story of one family's struggle to come to grips with the drowning death of their daughter. They soon experience some bizarre and frightening phenomena as they uncover dark secrets from her past. The strength of Lake Mungo lies in very convincing performances from the entire cast. If I hadn't been made aware the film was a work of fiction, I would have believed they were all part of a real family. Despite the use of hand-held cameras for the authentic feel,  there are moments of sheer beauty and fear in the static moments. Lake Mungo is a profoundly moving film that will probably ruin your sleep for a few nights.

Long Pigs (2008) - Chris's Review

Anthony McAlistar is a nice guy. He's an easygoing guy. He's also a serial murdering cannibal. But, still a nice guy. When a documentary crew follows him around, he gives lessons on the ins and outs of human flesh cuisine while waxing philosophically about a number of topics. The crew gets a crash course in everything from obtaining the choicest cuts to properly cleaning the carcass to the best methods for cooking. This thoughtful satire contains some truly stomach turning special effects.

Monsters (2010) - Chris's Review

You want gigantic tentacled monsters? How about a love story set in the jungles of Central America? Well, with Gareth Edwards's very low budget film Monsters, you can have both. It's amazing what the filmmaking team accomplished with mere chump change. The monsters are impressive, the visuals are beautiful, and the acting is very strong in this allegorical sci-fi/horror film. Too bad Monsters was released for a very brief run, because it stands up to many sci-fi films with many times its modest budget.

Satan Hates You (2010) - Chris's Review

Modeled after kooky Christian cautionary films, James Felix McKenney's frantic, gory, and funny allegory hits you over the head like the porcelain cover of a toilet tank. Seasoned with horror vets like Reggie Bannister, Angus Scrimm, Debbie Rochon, and Michael Berryman, Satan Hates You is wonderfully unclassifiable. It's a truly unique experience, and one that delivers in all the categories you crave. Think of it as the big screen adaptation of one of those "Do you Want to Go to Hell" comic strips religious folk stop to hand out when you're just trying to get to work.

Splice (2009) - Chris's Review

How often does a horror film truly get under your skin these days? Splice is a great throwback to those older Cronenberg sci-fi tinged films from the 70s that we loved so much. Audiences were polarized by the disturbing depictions of the family unit gone awry. It's a smart, and occasionally gruesome film with a running allegory about the failings of selfish parenting. The special effects are truly outstanding, and the cast does an excellent job balancing the drama, touches of dark humor, and horror.

The Horseman (2009) - Chris's Review

A brutal revenge thriller in the vein of Dead Man's Shoes, The Horseman is a tale of the lengths a father will go to avenge his daughter's murder. What sets it apart from most revenge flicks is a streak of heartfelt conscience mixed into the violent and gritty realism. What starts as a mission for brutal revenge becomes a journey for personal redemption.

Triangle (2009) - Chris's Review

There are few things I love more than a good time travel film. Unfortunately the list of truly inspired time travel films is small. Christopher Smith (Creep, Severance) has crafted a mind boggling puzzle that is mysterious, scary, and often awe inspiring. The film is anchored by the stunning performance from Melissa George who single handedly carries the film to nightmarish places. While it can be compared to Nacho Vigalondo's Timecrimes and the masterful sci-fi film Primer, Triangle stands on its own as a powerful work of intelligent horror.

Shake Off The Holiday Hangovers with BLEEDFEST Tomorrow Afternoon

Lis Fies' brainchild, the monthly film series celebrating independent female creators BLEEDFEST hosts its second event tomorrow afternoon. With a lineup of short films and a slew of trailers promoting what's to come this year, it looks to be a rip roaring grand day for indie film. The feature film sounds like an amazing mashup of the sci-fi and western genre, and its one I can't wait to see when I get back home. If you're in the Los Angeles area, there's no better way to nurse a two day hangover than  too spend a day at the cinema. But don't take my word for it when there's info to be had straight from the horse's mouth:

The highly anticipated Inanna Award (AKA "The Bleedy") a bronze statue designed by Neal Harvey of RubberGorilla.co.uk, was revealed in a video presentation at the BleedFest December 5th Awards Ceremony. The first Bleedy Award will be handed out live January 2nd. Your sneak peak: http://www.vimeo.com/17512261



The Bleedy will be awarded to the In Competition Feature Trailer chosen by the audience, and to the feature A FOUNDLING.


Three short films screened will receive an Award Certificate and Winner Laurels to add to their publicity campaigns, as well as pictures on the red carpet: period thriller THE BOARDER by Susan Bell (Bell's THE PATCHWORK MONKEY will play February 6th's WOMEN IN HORROR BleedFest), caped comedy SUPER MORNING by Julia Camara (BleedFest December alum SCREAM MACHINE, AREA Q), and western domestic abuse comedy UGLY ON THE INSIDE by Whitney Boe (MYTHIC JOURNEYS).

The In Competition category is comprised of six trailers of feature films written or directed or produced women. They are FUGUE by Barbara Stepansky (HURT, Emmy winner for THE TROJAN COW), AMERICAN MARY by the Soska Sisters (BleedFest alum DEAD HOOKER IN A TRUNK), BleedFest alum IN MEMORIUM by Amanda Gusack (THE BETRAYED), STOP, I'M NOT DEAD YET! by Anne Norde, GOLDEN EARRINGS by Marion Kerr, LEGEND OF THE RED REAPER produced by and starring Scream Queen Tara Cardinal (SONG OF THE SHATTERED, DOG FIGHT).

BleedFest's coveted Partnership Award is bestowed each month to a male filmmaker whose genre film has captured the spirit of BleedFest in its unusual, bold, and refreshing female protagonist. The recipient of January's Partnership Award is filmmaker Mando Franco, for his riveting and inventive short film LUNA.


BleedFest has a red carpet, an event photographer, a VIP Guest section, and an OPEN BAR for only ten dollars cash at the door.

Sunday January 2nd, 2011

TIME: 11am-3:30pm

Location: CAP Theatre

13752 Ventura Blvd.

Sherman Oaks, CA 91423

11:00am-11:30am RED CARPET, MIXER


11:30am-1:00pm FEATURE FILM: A FOUNDLING by Carly Lyn (90 minutes) A western, sci-fi, feminist, period piece starring two Asian women and an alien baby. Made by a young female filmmaker. Really.

1:00pm-1:15pm Q & A: Carly Lyn and actors
1:15pm-1:45pm BREAK: Open Bar, Red Carpet, Mixer

~~~~~~~~~~~~Ballots given to audience~~~~~~~~~~~~
1:45pm-2:15pm IN COMPETITION: feature trailers
FUGUE by Barbara Stepansky Q&A
IN MEMORIUM by Amanda Gusack
STOP I’M NOT DEAD YET by Anne Norda Q&A
GOLDEN EARRINGS by Marion Kerr Q&A
AMERICAN MARY by The Soska Sisters
LEGEND OF THE RED REAPER produced by Tara Cardinal Q&A

~~~~~~~~~~~~Ballots collected from audience~~~~~~~~~~~~

2:15pm-2:35pm PARTNERSHIP SCREENING AND AWARD
LUNAR by Mando Franco (14 minutes)
2:35pm-2:50pm BREAK: Open Bar, Red Carpet, Mixer
2:50pm-3:40pm SHORT FILM GOULASH
DRUG(ged) by Brenda Fies (7 minutes) Work in Progress, Out of Competition
THE BOARDER by Susan Bell (9 minutes)
SUPER MORNING by Julia Camara (3 minutes) Q&A
UGLY ON THE INSIDE by Whitney Boe (17 minutes) Q&A
CONSUMED by Elisabeth Fies (6 Minutes) Out of Competition

3:40pm AWARD CEREMONY Audience Award presented








4A9YSMCABM2M