With all their missteps lately (a price hike of up to 60%
per customer, the announcement then immediate abandonment of Qwikster and CEO
Reed Hastings arrogant public proclamations) it’s easy to forget what a great
service Netflix provides. If for no other reason, I’m grateful that the Instant
Watch feature means I’ll never have to sit through a schlocky SyFy original
film or the same five films in AMC’s lame Monstervision rotation when every DVD
on the shelf has been watched, rewatched and picked over.
With Halloween just around the bend and Mother Nature
playing a cruel “Christmas Came Early” joke by threatening to dump six inches
of snow in our laps, this weekend is the perfect opportunity for a
retrospective on one of the true masters of horror. His name is synonymous with
the holiday and one could make an argument that no genre director strung
together more quality films over the course of a decade than John Carpenter did
through the late 70’s continuing through the 80’s. Ironically, the film that
made him a household name, Halloween, isn’t available for streaming (though
Hulu & Hulu+ users can stream it) all of Carpenter’s classic are available
at the push of a button. If you’re looking for five movies to set the Halloween
tone this weekend you could do a lot worse than these selections:
One day my dear, sweet little Ada will toddle over to me while I lounge on the couch, hop up and sit on my knee, look me in the eyes and ask "Daddy, what's a horror movie?". On that day I'll smile, kiss her forehead, pop some Orville Redenbacher and pop my blu ray of this film on for her. I'll then make sure to hit the road for a long spell of travel for work and leave my wife to deal with the sure-to-follow nightmares. If for some bizarre reason this movie isn't in your collection, kick yourself then immediately close this article and queue this movie up.
I'm not going to lie-from a narrative standpoint, this tale about a group of scientific students doing battle with the devil in ectoplasmic form still doesn't make a lick of sense to me even after a half dozen viewings. But the ingenious imagery, stomach turning gore, disturbing visuals and atmosphere this film earns a place on the list of his best films.
The finale in what Carpenter calls his "Apocalypse" trilogy, this may be his last masterpiece. It depicts a worls of fever induced nightmares where a Steven King-like author's imaginative world proves all too real.
Michael Myers might be the first name that pops into fans' heads, but in terms of atmosphere and setting, no other film might nail the spirit of Halloween better than Carpenter's tale of vengeful ghosts that exact revenge on an unsuspecting town. Plus it has Tom Atkins doing what Ben Tramer couldn't by getting Jaime Lee Curtis between the sheets. Before Ron Swanson, ladies swooned for the Atkins 'stache.
Carpenter's latest film is by no means his finest.It's clear he was a director for hire on the project. But after a decade away from stepping behind the camera, I'd like to think of this as his rehab start, and he's getting ready to make his comeback throwing some real heat.
Like most successful horror franchises such as the Saw or
Friday the 13th films, the Paranormal Activity series works off a
formula. In the case of PA, the films rely on audience imagination and the
adage that what you can't see is far more terrifying than
anything shown on screen. The films use home footage and ingenious use of sound
to raise viewers’ heart rate whenever the lens is trained on innocuous events
such as a couple sleeping in bed. Over the course of three films the mythology
has evolved from a simple “haunted house” tale to a complex narrative that
links a specific family to witchcraft and a pact with a demon. Your own
enjoyment of the series depends on how much you appreciate the formula Peli and
company have put into place. So far its worked like a charm, as the latest
installment obliterated box office records, which means we should start to gear
up for the next entry in a year (On a side note-regardless of how I or anyone
else feels about the films, it’s a good thing that this entry met with success
as every wide release horror film sans Insidious has either underperformed or
outright bombed at cinemas this year. The genre desperately needed a shot in
the arm and a big time win).
The third film continues the trend of telling the story in
reverse (one has to wonder if the series continues whether the sixth installment
will involve old-time silent movie cameras). This time we’re headed back to the
eighties when Katie and Kristy were little girls. Since we know the two won’t
be killed off in this film, Joost and Schulman introduce us to the sisters’
mother Julie (Lauren Bitter) and step father Dennis (Christopher Nicholas
Smith) along with supporting characters in the way of Dennis’ production
assistant Randy (Dustin Ingram) and babysitter Lisa (Johanna Braddy). Smith
brings the welcome addition of being the first lead male in the series you won’t
want to choke after five minutes of screen time (though I don’t quite get all
the Micah hate) as he proves to be a dedicated partner and great with the
girls. Knowing that the two young leads are out of bounds, the film uses its
new characters, especially Randy and Lisa, to set up moments of genuine white
knuckle tension. On an unrelated note, I did get a kick out of the theater boasting about its 4K ultra high resolution digital projectors and 100 channels of digital surround sound set up in a mind numbing and obnoxious ad just prior to the coming attractions, given that this film is meant to look like it was film using primitive VHS technology.
This time around it’s Dennis, a wedding videographer, who
sets up cameras throughout the house in order to record and explain the strange
goings on late in the night. Aside from static cameras in the two bedrooms,
this entry adds a third camera placed strategically on an oscillating fan. This
is a welcome addition that keeps the viewer scanning all over the screen
looking for something out of place whenever as it rotates back and forth. Dennis
and Julie share a growing suspicion over “Toby”, young Kristy’s imaginary friend.
The couple share terrific chemistry, giving off a Freeling family vibe from
Poltergeist (one scene has the pair sharing a joint in bed) and making them
easy to root for. Bitter reminded me of 80’s
leading lady Karen Allen with her natural beauty and easy going demeanor (that
is up to the point where events go so haywire she flips a circuit). Joost and Schulman make the nighttime scenes
count. Gone are the repetitive and boring moments that ground the second entry
to a halt. This time around there’s no haunted pool cleaner moving on its own
accord. This entry allows the tension to build slowly, almost to the point of
bursting before unleashing a cathartic moment of horror. These range from
simple moments involving a bed sheet with a mind of its own to “Toby” growing
tired of Katie’s taunts and taking matters into his own invisible hands. This
time around the marketing team avoids spoiling the best moments in the trailer.
In fact most of the footage in the trailer never makes its way into the movie,
and the “Bloody Mary” sequence plays out in a far different, far more bone
chilling way.
Spoilers ahead-sorry folks
For the first two thirds of the film, Paranormal Activity 3
soars, and could lay claim to the best entry in the series. It’s unfortunate
that the last act is so full of plot holes and lapses in judgment that it
derailed my enjoyment of the film as a whole. When the situation at home becomes unlivable,
Dennis, Julie and the kids pack up and head to Grandma Lois’ house. If you’ve
seen the second entry, Lois’ brief conversations with her daughter telegraph her
involvement from a mile away. While it ties the two films together, other
actions and their results contradict things we’ve heard in the other films-we
still haven’t seen the fire that drove Kristy and Katie from their homes, and
it’s asking a hell of a lot of an audience to accept that the two girls would
forget events THAT PLAYED OUT RIGHT IN FRONT OF THEIR FUCKING FACES that left
them as orphans. Where the second film, boring as it was, at least tried to
create a deeper mythology that linked Katie and Kristy to some ancient family
curse, this entry seemed determined to fudge all the details. Blame the way
Paramount churns these pictures out. Filming didn’t begin on the film until the
end of June with a film release date in place, leaving no time for spot
checking and seeing if the story made any goddamn sense.
Endeth the Major Spoilers
The biggest drawback of found footage films rears its ugly
head as well. When the shit hits the fan, Dennis wakes up and finds Julie and
the kids missing. A logical, smart adult would probably turn on the lights and
look for a phone in order to call for help. This being a cinema verite style of
film, we’re expected to swallow that Dennis would just pick up the camera and
skulk around in the dark, not even bothering to flip on lights as he makes his way around. We’re also
expected to believe a fit; twenty something guy hopped up on fear and adrenaline
would run in mortal terror screaming like a nincompoop from what looks like an
AARP meeting, instead of brandishing his camera as a weapon Tony Gwynn style.
The Paranormal Activity series has always been at its worst
when the handy cam gets involved. It stops feeling like a movie and more like a
first person video game where the controller has taken on a mind of its own.
When the camera is stationary and uninvolved, the films do a tremendous job of
crafting supernatural horror by sticking to presenting the facts in the case
and letting the fates of those involved unfold before its glowing red eye. For
a series that goes to tremendous lengths to create the illusion of reality, it face
plants in the closing moments by asking us to believe its lead would cart
around a camera instead of carting his daughter out the front door.
I’m not sure where the story can go from here. It’s a cash
cow for Paramount, and until audiences grow tired of the films, it’s a lock
that we’ll see a fourth film in a year’s time. If the story continues to be
told backwards, will we see ninety minutes of haunted ultrasounds next time
around? It’s too harsh to call the third film a failure. For the first hour of
its runtime it builds on the formula Peli put in place and it provides the most
genuinely chilling moments in the series to date. The performances are terrific
across the board and special kudos should go to Chloe Csengery and Jessica Tyler
Brown as the young sisters. For the life of me I can’t figure out why Joost and
Schulman came to the collective decision to take the ending of The Last
Exorcism and make it even shittier.
On a side note, why does the Paranormal Activity series remain the worst for decent finding Google Images to use in one's goddamn post?
In Boston, we're spoiled. We're constantly exposed to a number of unknown films presented by a plethora of film organizations in the area. This is truly a town for film lovers, and those willing to take a risk are often rewarded with exceptional films that would more likely collect dust on the shelf than get a large theater screening. Last night I had the opportunity to check out the British horror film Unhappy Birthday, a film so utterly off my radar I had to poke my face in a mirror to make sure I was still real. I pride myself on digging deep into the horror film underground, and disappoint myself when something this good escapes my attention. Thanks to CineCache, one of these great organizations, I learned something new, and got to see an original, atmospheric, and downright eerie film.
Unhappy Birthday has been compared to 1970's horror staples The Wicker Man and Let's Scare Jessica to Death. Those are both very apt comparisons. Unhappy Birthday certainly feels like the product of a forgotten age. It mixes just enough moral debate with otherworldly weirdness that it's very easy to see why those two films in particular were chosen as reference points. The real similarity is that the film presents the story of "outsiders" contending with a close-knit community of holier-than-thou locals who have more than organic gardening and manure shoveling in their bag of tricks.
Unhappy Birthday takes dysfunctional relationships to a whole new level. The story follows three young adults, Sadie, Jonny, and Rick, as they head to the tidal island Amen to celebrate Sadie's birthday. Jonny and Rick plan a special surprise for Sadie on the island, despite her near obsessive phobia of drowning. She relents with the hope of having neutral ground to discuss the newfound complications of her relationship with Rick, both unsuccessfully working to get Sadie pregnant. Soon, the relationships of the three are revealed to be more ambiguous than earlier indicated. We now have a very complex love triangle going on with more than the obvious surprises for all parties.
Arriving in Amen, they learn quickly that the population is a very tightknit group of strange folk who adhere to very specific rules for living - "pure and natural" as one character describes. The group find themselves nearly trapped by the island's tidal schedule. There's a very small window of the tide being out enough to uncover the road from beneath the ocean water. Sadie's panic barely brings them across the first time, and now the trio find it even more challenging to leave.
Atmosphere is the key here in Unhappy Birthday. The film is literally dripping with it. The sense of isolation wrought from the tide is unquestionable. Everyone truly feels trapped, obviously a symbolic move as well as a mood setter. The Director of Photography, Mark Hammond, does an incredible job establishing the dreariness of Amen's countryside - what should be an idyllic paradise - but is pulled down by the bizarre customs of the locals and the challenges of the relationships. There are some downright beautiful shots of the countryside and tidal plains to punctuate the action.
Unhappy Birthday also has a crazy good sense-of-humor. Rather than get too bogged down in the depressing nature of the story, Matthews and Harriot populate their film with a clever quirkiness that had me pretty giddy throughout. Even when shit hits the fan in the final act, I still found myself smiling as much as being fearful for our heroes. The core performers - David Paisley Christina De Vallee, Jill Riddiford, and Jonathan Keane, respectively - are outstanding across the board. They're able to convincingly take us to tumultuous, frightening, and odd places the screenplay and visuals demand.
Give Unhappy Birthday a shot, especially if you enjoy the aforementioned films, or the classic films of Hammer in the 60's and 70's. It fits in very well as a loving, albeit wholly original tribute to cinema's great horror classics from that era. It's an updated take on those films incorporating current day confusion and stress with a much older, simpler, and scarier world.
Paranormal Activity 3 (2011) Written by Christopher B. Landon (Story) and Oren Peli (Characters) Directed by Henry Joost and Ariel Shulman
It was a huge surprise when I saw Henry Joost's and Ariel Shuman's names in the closing credits at the end of Paranormal Activity 3. The team was responsible for last October's surprise hit, the creepy "documentary" Catfish. Whether or not they fudged the final results in that film doesn't matter, because it was a well-made, sometimes chilling look at internet relationships gone sour. Clearly they were an outstanding choice for keeping the Paranormal Activity mythos going in awesome, unexpected ways.
I make it no secret that I love the Paranormal Activity films. The first two were fun and scary with a carnival ride atmosphere. My favorite part about the whole phenomenon of the PA series is how fun it is to see the movies with a room full of anxious people. The third installment was no different. A row of cocky and talkative teen boys sat behind me, and all were reduced to whimpering sacks by the film's end. I heard one kid mutter "that was effed uuuup" as I was leaving. Mission accomplished, PA3 team! I, too, left unnerved, with shaky hands and a large smile on my face.
According to my girlfriend, I'm always ranking things. That's true to an extent, though my ranking system is suspect. I'm a fickle list maker. However, I'd consider PA3 my favorite so far. As we saw in the second film, the producers have decided to expand the story in small increments. The first film was a simple demonic possession film. The second hinted at a larger sordid history of familial demon worship. Where PA1 won me over with powerpacked scares and suspense, PA2 stole my heart with a solid story and much better characters. The scares didn't hit me quite as hard, but I was much more into the story itself to care. PA3 goes a step further in expanding the story, and introducing even more compelling characters. PA3 also delivers some of the best shocks of the entire series. One particularly brilliant touch is the use of a camera mounted to an oscillating fan base. Each time the camera moves so gruelingly slow from left to right, your eye will be darting around to find the evidence of something creepy about to happen. When it does, it does so in gut-punching ways. In fact, that's the way I've watched the entire series: with eyes darting around from behind my hands, and feet up on the seat so things don't grab me from beneath.
Paranormal Activity 3 is told through the eyes of children, something that really makes me connect with it. As a "prequel", we get to see the previous leads Katie and Kristi (marvelously played by Chloe Csengery and Jessica Brown) as children. I don't want to dwell too much on plot, but just to give you the gist: In 1988, Julie (outstanding Laura Bittner), mother of Katie and Kristi, resigns to allowing boyfriend Dennis (Christopher Nicholas Smith) videotape strange occurances going on in their home. When the younger Kristi reveals that she has an invisible friend named "Toby" responsible for the strange happenings, Dennis, a professional videographer, sets up cameras to capture the - ahem - paranormal activity. What ensues are some of the more creative instances of hauntings found in the PA films. There are some downright jaw-dropping moments that come out of nowhere. There are some serious "oh fuck" moments, and this is coming from a very seasoned horror fan.
Like the film, I'll keep this review short and sweet. It's a more-than-worthy entry in the PA series, and to me, is the best so far. Although having a larger budget allowed for higher priced special effects, I will say I preferred the bang-for-a-buck simplicity of the first film's scares. I was taken out of a few key moments because of the fairly obvious use of CG. See, what the producers need to realize is PA3 could have shown me absolutely nothing and I still would have been swept away. Instead, they've been minorly seduced into thinking CG will impress us. Personally, the less I see (as with two EXTREMELY effective scenes in part 3), the more scared I am. This complaint aside, PA3 delievered on every possible level, and left me wanting even more in a series that I'm glad replaced Saw as THE Halloween season multiplex event. Paranormal Activity 3 Trailer
In the realms of horror, I love nearly the entire smorgasbord of offerings. Supernatural beings, slobbering creatures, superhuman slashers, shuffling zombies, hungry cannibals: I love it all to varying degrees. However, what often hits me the hardest are the films that present plausible scenarios. More often than not, the most potent horror stories place the characters in situations that could happen to any of us. We've seen a number of films over the years tackling heady subjects that could quite possibly occur right in our backyards: from the viral outbreak of Contagion, to the deep psychological trauma of Martyrs, and, of course, the home invasion films like Ils or The Strangers. Rarer still is a filmmaker motivated by larger ambitions, who casts a larger net, and presents something with significant ramifications for an entire population of people. This is big stakes horror at its finest. This is Kevin Smith's Red State.
When indie stalwart Kevin Smith (Clerks, Chasing Amy) announced he was working on a horror film, the claim was met with everything from extreme skepticism to over exaggerated enthusiasm. With a mixed bag of films under his belt, Smith is still proven as a vitriolic filmmaker. Most of his early work mixes juvenile humor with an undercurrent of great social and political subtext. Smith is always subversive, though it tends to get buried in the goofiness of his characters and dialogue. I'm ok with that. I'd rather not be hit over the head with message, and I tend to "get it" most of the time. Red State is a much different beast. It actually does hit you over the head. Repeatedly. With the bluntest instrument possible. Only, in Smith's hands, the ideology doing the bashing isn't always clear cut. There's a nice grey area in Red State. It's that most precious of "issue" films, one that presents the story from different angles without having totally clear-cut villains, heroes, and victims. In Red State, everyone is despicable in some way. Yet, Smith, with a great respect for his characters, incorporates a level of fragile humanity to them all. On some levels, you want to kill off all these people. On another, you can almost relate to them. It's that balance that pushes Red State from merely watchable into often breathtaking territory.
Before I begin summarizing, I just want to state that Red State is not specifically about "evil" Christianity. Well, inasmuch as I know a number of great, non-judgmental folks who consider themselves Christian, but have never so much as uttered a mean word about anyone. No, Red State is about a particular segment of society - motivated by hate and fear - operating under the disguise of a benevolent, superior religion. Anyone who interprets the words of Jesus in such a way as to justify beating and murdering, well, that's just sociopathic, psychotic behavior. These are the Fred Phelps of the world - disgraced, confused people who turn to bashing those they deem "heathen" or "wicked", when they themselves, are hypocritical purveyors of the worst behavior displayed by mankind. They are no more than militant bullies and murderers. They are cowards taking advantage of an environment of powerlessness, weakness, and a little bit of the crazy. But I digress.
Smith's setup of the film is pitch perfect. We are introduced to three fairly typical teen buddies Jared, Travis, and Billy Ray with plans to meet up with a woman Jared met on an internet sex site. They're the epitome of hormone driven teens, a little curious, a little clueless, sexist, but also young enough that they could grow out of the more malicious aspects of their behavior. The promise of group sex lures them three towns over to Cooper's Dell. A series of events occur finding the three drugged and caged in the church of Pastor Abin Cooper (the fantastic Michael Parks), a hate-spewing country preacher who runs the Five Points Church compound. The pastor has plans for the young men, one that involves crucifixes, saran wrap, and sacrifice via very powerful guns.
A chance earlier encounter with the county's sheriff brings the local law knocking on the door of Five Points. Having been blackmailed by the pastor for a few indiscretions, the sheriff (Stephen Root) has no choice but to involve the ATF, lead by Agent Joseph Keenan (John Goodman). A tense stand off between the church and the ATF ensues placing the young men and the church members right at the heart of battle.
Red State contains some of the best performances you're likely to see this year. As the pastor, Michael Parks is clearly the man for the job. He gives a riveting performance, one of utter hate disguised in a sweet, musical southern voice. Parks does so much with inflection, singing, and downright charm, he almost makes it difficult to despise him. Almost. He's a snake - one that slithers hypnotically down rows of pews - only to strike a poisonous blow. His technique is never over-the-top, but full of such gentle menace and nuance you'd not find it hard to believe he could command a small troop of "believers".
Across the board, everyone, especially Goodman, is up to task to deliver the necessary depth of emotion Smith's film demands. Again, you may find yourself caring for awful people due to the sheer charisma of all involved. Melissa Leo is especially good as the devout and unhinged Sarah Cooper, daughter of the pastor. Her utter devoutness might belie significant psychological problems that burst forth ever fiercer when a loved one is killed. Kerry Biche also shines as Cheyenne, a young woman who will stop at nothing to make sure the children living on the compound escape unharmed.
Watching the dynamics play out is a wonder. Cooper operates his hate-mongering group as a family, all of which are devoted to the cause through generations of indoctrination from an early age. Keenan is low man on the totem pole with the ATF, and must act on orders counter to his instincts and sense of right and wrong. Here, Smith sets the stage for two powerful men answering to even higher powers. The struggle between the two is captivating, but whereas Keenan questions his authority figures, Pastor Cooper adheres to his god absolutely.
Although Smith's script feels at times like it's about to get away from itself, the performers keep everything grounded. There is a real sense of gravity here not found in most of his other work. The wit is present, but it's downplayed with great care. Despite its flirtation with over-the-top presentation, Red State never feels like too much. Evidence of our own history - events such as the massacre of Branch Davidians in Waco, Texas, the brutal death of Matthew Sheppard, abortion clinic shootings, hate-fueled protests of homosexual funerals, the ever-increasing ranks of Evangelical Christians, bombings of public spaces - shows that this is all more than just a work of fiction. This is Smith emptying his head of all the frustration, anger, and pervasive feeling of panic wrought by his own country. It's a hugely bold statement, and one that isn't promoting an agenda so much as stating facts in a cinematic format.
Red State is a terrifying, urgent, riveting film. It's sure to get people riled up. Most will look at it superficially - as something about "Bad Christians" or possibly "Bad Government". It's something much, much more. It's a deep look into the mirror as we stand on the verge of so many things. If ever a trumpet blares for a real Rapture, we may be very surprised at the results. As the Sermon on the Mount attests, the real Jesus was much more concerned with how we treat others during our time on Earth. Whether we believe any of this shit or not, I'll safely assume that being a good person and treating people with kindess, respect, and dignity is the best way to go.
Rather than post full reviews of American Horror Story (NEW Episode Tonight! Whoo!) I'm post random stream of conscious thoughts about the bizarre FX network program that's a mix of gothic horror, supernatural melodrama and kinky sex fantasies. I may or may not be developing a thing for sixty-something Jessica Lange and it may involve weird dreams involving her, Betty White, a camcorder and a jar of JIF chunky peanut butter. The only way to find out is to read on.
The first episode cribbed music from Insidious, the second
reached into the way back machine, lifting the iconic stinging strings from
Bernard Herrmann’s Psycho. Is this a trend that’s going to continue? With the
two part episode titled Halloween just around the corner, you have to wonder if
John Carpenter’s in line to cash some royalty checks.
I’m loving the opening flashbacks that highlight the house’s
murderous history. This week hinted at the supernatural with all Franklin’s
talk about the Devil and whatnot, but as we come to find out, he was just a
beta version of the next year’s new and improved model: Mr. Charles Manson. I hope they keep delving into the back history
of the house. Like the island in LOST, the
home feels like another character, and a much more interesting one than the
Harmon family. I’m hoping the coming episodes explore why the home is such a
beacon for murder and violence. Is it built on contaminated ground? Does it
suffer from some other worldly curse or is it just a magnet for troubled and
damaged people? Will future flashbacks
reveal a common thread in the shared history of violence?
When Bianca (Mageina Tovah) was on the psychiatrist couch, I
thought for certain the actress played one of the home invaders in The
Strangers. Given the episode title and the fact the intruders wore creepy masks
when the first broke into the home it looked like a nifty tip of the cap to
eagle eyed genre fans. Turns out it was Gemma Ward under the “Dollface” mask.
Oops. Also, after viewing the lovely Ms.Ward’s photos on IMDB, I’m miffed they
kept her hidden under a mask the whole movie. Yowza.
I’m sure Taissa Farmiga is a nice kid that eats her
vegetables and holds doors open for old ladies and whatnot, but my god is the
Violet character a paper thin insufferable teenage brat. From the scalding
looks she throws her dad every two minutes, to ripping into her pregnant mom
(going so far as to hint that she’s going to end up with a handicapped infant)
to ripping off Blossom’s wardrobe, I just want to see her run stomach first
into a sharp instrument.Also, either
something ended up on the cutting room floor or the writers are lazy because I
missed how Violet became sudden BFFs with the bully she lured into her basement
to get mauled by the misshapen dead midget with rows of razor sharp teeth.
On the other hand, give me more of Jessica Lange’s deliciously
twisted GILTGAHJF (Grandma I’d Like to get a hand job from). I’m not sure what
her beef with Violet stems from, but I’m all for the brat mowing on a homemade
Hostess snack cake that leaves her evacuating from both ends. Granted, the cupcake ended up in the belly of
an unintended recipient, but we still have plenty of episodes to go. It’s also
tough to beat locking your Downs afflicted daughter into a closet filled with
mirrors so she can scream at her reflection just to get some sexy time with the
local gigolo.
After the pilot I was unsure if I actually liked AHS but saw
enough promise to give it a shot. After a MUCH stronger second episode it’s now
one of the few (along with the NBC Thursday night comedies minus Whitney) “must
watch” shows on my radar.
Oh Dylan McDermott, you scoundrel. Gotta love the old "Dine, Abortion and Dash" trick. Good luck explaining THIRTEEN missed calls to your pissed off wife.
In the best books, a writer spins his or her yarn much like a spider laying web for its prey. The reader becomes hopelessly entangled. The eight-legged author has already administered poison from the first sentence. By the story's climax, feeding has well begun. The kicker is that we, the vulnerable cocooned reader, thank that author for swallowing us whole.
In this allegory, Joe R. Lansdale is akin to a black widow: hypnotic, down-and-dirty, and one of the most deadly on Earth. You'd never know it if you've ever spoken to the man or even just followed his twitter posts. He seems so full of cheer and enthusiasm, one would think his persona to be clever camouflage for trapping us hapless flies. You see, Joe Lansdale is from the old school where writers like Elmore Leonard, Raymond Chandler, and Richard Matheson cast webs with a sweet charm that belies the death blow. His east Texas flavor is like sweet tea laced with strychnine. Or, in keeping with my allegory, like a gorgeous, dew-soaked web hypnotically glistening in the sun. You struggle at first, but give in to the invitation of such brutal beauty knowing that death is really a reward.
But you've probably had enough metaphors for now. The point of this little piece is to let you know that Mr. Lansdale has recently released a very great new book. All the Earth Thrown to the Sky is his return to the young adult format previously taken back in the 90's with The Boar. Fans of his work know that Lansdale would never stoop to patronize his readers, no matter their age. Mr. Lansdale is certainly no snot-nosed juvenile, but he is a man who hasn't lost a sense of being a kid. One only need to read The Boar, and the excellent tale The Bottoms, to know he has one foot planted right back in the awkward stage of adolescence. Like all the best people, he's matured where it counts, but remained a kid in all the right ways. In keeping with that, his latest novel honors kids of all ages - by not sugar-coating a damn thing.
All the Earth Thrown to the Sky is the story of Jack Catcher, a young man living in Depression-era Oklahoma during a period of the worst Dust Bowl storms. Dense blowing dirt, dust, and debris pervades every aspect of the life of his fellow Oklahomans. After burying his parents, victims of the suffocating environmental and economic turmoil, he sets out on a great adventure to escape mountains of dust and poverty. His eyes and lungs assaulted by the oppressive wind, he his determined to make a new life. Winds once imprisoning him now blow with the hope of change.
Meeting up with whip-smart Jane, and her brother Tony, the three embark on a quest to find a new home free of the confines, sadness, and loss wrought from their buried home. Along the way, they encounter a slew of colorful characters, good and bad, These gray area heroes and villains guide them on their path to growing up fast, but on their own terms. Throughout the course of the story, they must use their wits, and summon shear strength of character, to overcome seemingly insurmountable odds. Navigating the multi-colored Dust Bowl, they weave in and out of situations involving brutal gangsters, cheating carnies, hoboes, and slave-drivers. Each encounter draws them closer together, yet also drives them apart. For each recognizable color of wind-strewn dust that blows in from surrounding states, so, too, is the spectrum of color in the characters motivations and actions. Growing up sometimes means growing apart, from friends, family, and home.
Once Mr. Lansdale starts describing the harsh winds of Oklahoma, you'll swear you're spitting up particles of dust as you read. When he describes the heat, sweat is dripping down your neck. Someone get me a glass of water! As we've come to expect, Lansdale excels in rich characterization, and creating a sense of place. He knows these places - the towns, swamps, and miles of dry earth - like the back of his hand. The language, customs, hopes, and fears specific to whatever area Lansdale describes is represented fully and with great respect to the region. People talk just as they would if you were standing right before them. They act not as we'd expect cliche story characters to act, but as very human subjects with insecurities, doubts, but also resilience and a sense-of-humor.
It's always great when a writer incorporates a little history in a tale. In this case, Mr. Lansdale draws not only from the Depression-era, but also peppers the story with recognizable characters from that period. Infamous people like Pretty Boy Floyd show up with regularity, allowing us to see why "criminals" or other folks operating in the underbelly could also be celebrated when there's not much future to look forward to. The orphans in our story take on a quest to protect a carnival fighter who may or may not be a good person. In dealing with some shady people, they are perhaps catching a glimpse of their own possible futures. Whether they resist, or give in, remains to be seen.
As always, there's a real heart - full of longing and nostalgia - beating at the center of Mr. Lansdale's book. It truly was created for an audience of all ages, and might serve to connect generations that have become so divided, we can no longer tear ourselves from personal computing devices when we speak. Because Lansdale is such a deft storyteller, those generations can find common ground by discussing All the Earth Thrown to the Sky. While it's a story set back several decades to a forgotten time, the echoes are being felt even in today's unpredictable climate. Mr. Lansdale's book allows us be informed, entertained, but most of all, aware that struggle is timeless when everything we hold dear can be thrown to the sky and scattered at a moment's notice.
As we get closer to Halloween, here's the second entry into a series I like to call: Watch to watch when your tired of watching Halloween. It's not that we don't love the classic film by Rob Zombie John Carpenter. Sometimes you just need something different to whip off the shelf when you've got a group on non-horror friends that ask "What should we watch for a horror film tonight?" This week's pick is Haxan: Witchcraft Throughout The Ages. Today's film is especially appropriate since Michael Bay and Platinum Dunes just announced a remake to be headed by Texas Chainsaw Massacre's Marcus Nispel.
What's it about? This 1922 Scandinavian film examines the history of witchcraft during Middle Ages.
It also theorizes that many of the innocent accused suffered from mental illness, which in unenlightened times would be mistaken for devil worship and demonic possession. Visually and thematically it was light years ahead of its time.
Why is it appropriate? Although it's a documentary, director Benjamin Christensen included dramatic reenactments of the nightmarish persecution the accused suffered at the hands of Inquisitors.The effects are more akin to a horror film than documentary, and even ninety years later the visuals feel bold and captivating. This would be an ideal film to project in the background of a gathering. It's something that you might not notice at first, yet as it progresses you'll find yourself drawn to its stark imagery. The second vignette in particular, with its depiction on the commonly held superstitions surrounding witchcraft and the devil, are stunning. From Black Masses, grave robbing, torture and possessed nubile nuns, Haxan is a black and white wet dream for genre fans that want to feel a bit scholarly. From Christensen as a towering Satan terrifying a group of monks to witches flying through the night skies, Haxan is a work of beauty that should be seen by anyone claiming to be a horror fan.
Screening as part of SHUDDER FEST 2011 on Saturday, October 15 at the Somerville Theater.
Like Cracker Jacks, Microcinema, a short film by Skip Shea, ends with a surprise in the bottom. The good news is that it's better than a plastic ring. Unfortunately, that means I also won't be able to give you much of a synopsis or risk ruining the entire thing. The film itself is a project of Harvest Tide, a fledgling production company located just outside of Boston. Microcinema was originally conceived as part of a web series called Longreach, but exists now as a stand alone film. It's a potent, nasty little film that starts as an intellectual exercise, but ends in a state of primal animalism. I don't think many recent films have caught me so off guard as this gem.
In the tradition of self-referential horror films like Man Bites Dog, Behind the Mask: The Rise of Leslie Vernon, and recent favorite, Long Pigs, Shea employs a verite style to tell the story of privileged kid Peter, a pretentious snuff movie fan who devises a plan to videotape himself killing someone for a perceived audience. He waxes (or masturbates) philosophically about the nature of man and his innate need to kill. Peter believes he's giving everyone what they need by filming the murder, including his victim. He's doing it to prove a point. Just what that point is remains to be seen. When he tracks a young woman into a secluded forest, he finds out that the roles of predator and prey aren't exactly clear cut, and not everyone shares the same philosophies when it comes to their lot in life.
Microcinema is a tricky film to review without giving too much away. Though it draws from the "shaky cam" technique employed by a number of recent films, the short itself is nicely composed and lit. Even though I reference them, it is not at all a "Found Footage" film. If anything, it's a brutal satire on psychology, snuff films in the digital age, ever encroaching social media, and decreasing boundaries of what is or isn't acceptable to share. In the span of six minutes or so, we see the ultimate brutal folly of life behind and in front of the camera.
Hidden beneath a faceless mask, Alex Lewis does a great job of creating a persona for Peter without the use of facial expressions. It's all done with aplomb using gestures and commanding diction. Aurora Grabill plays Peter's lonely victim and tackles it with equal fervor. Their lives intersect for a truly horrifying climax, one that turns the aforementioned films on their ears.
Microcinema is most certainly a horror film for the youtube generation. I don't know if I'd call it a cautionary tale, unless Mr. Shea and company are trying to protect predatory snuff filmmakers. Regardless, it's a film worthy of your time, and holds great promise for the Longreach episodes to come.
I feel like I've been pimping this weekend's SHUDDERFEST for three months instead of these past three weeks. As we hit the home stretch with our first film kicking off two nights from now, I'm feeling just a bit burned out. There's only so many tweets, emails, Facebook status posts, event calendars and press releases I can send out before it feels like I'm a carnival barker shucking and jiving my ware to unsuspecting marks.
That said, if you're in the Boston area, love horror movies and find yourself continuously frustrated by the remakes, redos, sequels, gimmicks, watered down violence and overall lack of risk taking and originality then make your way down to the Somerville Theater Friday and Saturday night. We've lined up four films and a slew of shorts that push the boundaries of the genre; provides chills and laughs; don't skimp on the (practical) gore and as my dearly departed grandmother was fond of saying "make salad out of chicken shit" with regards to budget and resources.
But enough about what I think-here's what other esteemed sites have said about our lineup (with links):
By choice, I don't own a car. Whether that's an economic choice, or by reason of keeping a semblance of sanity, remains to be seen. However, I'm no stranger to Boston gridlock. When it comes to horrendous traffic, people leave their manners at home, tucked away in a padlocked box and buried in the backyard. For some, it's a point of pride to be as vulgar as possible when expressing anger. How everyone isn't walking around with tiny casts from sprained middle fingers is beyond me. On those occasions when I begrudgingly use a car, I'm appalled at what a complete monster I become behind the wheel. It happens to the most zen of us. Some numbskull cuts us off, and the beast is unleashed. Sometimes the beast is content just to call a random nut's mother some choice insulting names. Occasionally, the beast is compelled to do something a bit nastier.
In Road Rage, Barbara Stepansky puts severely aggressive drivers on display in a darkly humorous, but ultimately brutal short. Her entry in the fantastic Bleed Fest, Road Rage is an effective commentary on this ever escalating phenomenon. In the tradition of suspenseful sickos-behind-the-wheel films like Duel and Road Games, her short is updated for today's self-absorbed, reckless drivers. Stepansky, director of films such as Fugue and Hurt, has a great handle on balancing dark humor with something far worse. She tows that line with a keen sense of timing, one that ultimately leads to a shocker of a closing. Because of her skill with suspense, Road Rage is a great entry in the maniac-behind-the-wheel sweepstakes.
Connie is a self-important, impetuous, and downright rude driver caught in one of L.A.'s typical glacially-paced highways. She finds herself at odds with the assortment of so-called morons and idiots surrounding her in their shiny death machines. When she isn't laying on the horn in exaggerated annoyance, she's flipping the bird at anyone who looks at her funny. Her rudeness is so ingrained, she rages at the most minor of offenses. She soon pisses off the wrong driver, and a deadly game of cat-and-mouse ensues. Connie finds herself pursued by a real crazy, both drivers past the point of apologies.
Even if Road Rage, hadn't been great -which it is - I still would have given it a pass. That's because it features Keiko Agena who played Lane Kim on one of my favorite shows ever: The Gilmore Girls! Here as Connie, Keiko commands every ounce of screen time as the bitter young woman combating the aggravation of traffic nightmares. Connie may have been a good person at one point - as we see her leaving her job with a smile and holding the door for people. Once she takes a look at her car, a pronounced sour look transforms her face to one of despair. On the road, she is so completely consumed by rage she can't control it. We like her even though she's a jerk, because we've all been that jerk. Impetuous to the point of real danger, it's too late to pull out of the situation when a maniac has his or her sights set on teaching her a lesson in traffic etiquette.
While I'm not completely certain in which driver's seat Stepansky places herself, what I'm sure of is that she's probably reached her own breaking point. Road Rage is, perhaps, her method of therapy. When there isn't much hope of recourse out on the treacherous roads, people resort to mayhem and chaos to defend themselves. Road Rage is for anyone who's ever felt invincible behind the wheel, only to find out we're all just potential maniacs about to snap. The four wheeled weapons we wield on the open road can also end up our mobile coffins. I'd personally make this require viewing for anyone who's opposed to upping public transportation. I'm glad I live in a walkable city.
Sorry to the readers not in our area, but one of our stated goals is to bring attention to rad horror-related events in the Boston vicinity.
Using classic horror clips as accompaniment (including scenes from bizarre Italian cult favorite Burial Ground and Donald Sutherland potboiler Don't Look Now) local electronic and industrial musicians have a night bleak, dark and dank music lined up for your listening pleasure. What better way to kick off Halloween weekend than to spend a night assaulting your eardrums with the constant and droning reminders that at one point in the not all to distant future you're going to end up worm food and eventually forgotten as your peers keel over alongside you?
In all seriousness, if done right, this is going to be an awesome mix of musical and visual horror that's sets a perfect tone for the holiday. I'm looking forward to this one myself (look for the bearded fat kid in a backwards Cookie Monster baseball cap).
Tickets are only $5 at the door. The event HAS to wrap at 11pm, so expect a tight ship to be run.
When Tucker played
the festival circuit a year ago, the common lament among movie goers was how
could a film this smart, well acted and laugh out loud funny not have been
snatched up immediately and placed on as many screens as possible while dreck
like The Roommate and wholly unwanted Priest continued to lob giant balls of
diarrhea at audiences? MAGNET studios finally came to the rescue and added Vs. Evil to their impressive roster of
offbeat genre films (Rubber, Troll
Hunter, Hobo With A Shotgun) for video-on-demand and limited theatrical
release. Now that the film is out, was there any possible way it could live up
to the hype?
In a word: yes. Yes, yes a thousand times yes.
A quick rehash is you will: Tucker (Alan Tudyk) & Dale
(Tyler Labine) are a pair of blue collar hicks that are on their way to spruce
up Tucker’s brand new vacation home. Their little oasis may or may not have
once housed a serial killer (while the news clippings on the wall suggest that
all signs point to ‘yes’ on this issue, the boys are far too consumed with joy
at finding a two for one chili dog coupon to care) and it may be one hard
sneeze away from falling to pieces but dammit it’s theirs. While stopping at
the local quick stop for gas and supplies they come across a gang of college
kids/Gap models who are immediately wary of the gruesome twosome. Through an
escalating series of misunderstandings and accidents, our heroes are mistaken
for psychopathic killers, and the college kids meet gruesome ends due to their
ineptitude. A scene involving a swarm of angry bees, a chainsaw and fallen timber provides the comic highlight of the year.
Spot on casting goes a long way in this film. It’s a buddy
comedy first and foremost, and Tudyk and Labine share a breezy chemistry with
one another that allows the audience to buy them as longtime friends. Tudyk
comes off as a sort of big brother to the dimwitted Labine. He never comes off
as exasperated or mean spirited. Alan Tudyk can’t not be funny on film. TMZ
could release home footage of him exposing himself to cub scouts while shooting
up heroin and I’m sure there’d be at least three gut busting laughs.
Both Tudyk and Labine come off a so likeable that it becomes apparent after
spending thirty seconds with them the pair couldn’t harm a fly let alone shove
a psych major headfirst down a wood chipper.
It helps that both Tudyk and Labine can make their
characters ones an audience can empathize with, rather than just deliver ninety
minutes of yuks while that crib from the Jeff Foxworthy bag of gimmicks. During
a pause in the action where Tudyk beams with pride over his new vacation digs,
we can ignore the fact that the place is a dump because of the pride he takes
in it being his. It’s the moment that
any viewer that’s ever labored to carve out something they can call their own
will identify with the pair.
Katrina Bowden leads the cast of college kids/meatbags (what’s
up HK-47?) and is tasked with three things: Look fantastic (check), stand out
as the sympathetic character among a bunch of d-bags (check), and give a whiff
of credibility to the idea that she could fall for Levine’s loveable buffoon
(two out of three ain’t so bad). Jesse Moss plays Chad, an over caffeinated popped
collar preppie that’s gung ho about going Red Dawn on our loveable rednecks. The
rest of the crew act as able bodied cannon fodder straight out of the horror
victim handbook. Where T&D succeed is lampooning the grisly demise these
types typically run into. The kids literally run headfirst to their deaths with
gusto, done in by their own ineptitude and inability to relate to anyone that
doesn’t have an AMEX black Card in their wallets.
Spoofing horror can be a tough task when the genre if
already ripe for ridicule. The ones that succeed come-your Shaun of the Dead or
Young Frankenstein-come from a place of reverie, from people that spent
countless Saturday afternoons around the boob tube sucking down Nerds and
Creature Double features and from those that infinite hours scanning the isles
of video shelves searching for the more goreiffic VHS box cover. Add Tucker & Dale to that list.
We reviewed this short film from veteran actor (and fellow Red Sox fan) Sky Soleil back when it first came out. It's a fun, family friendly short about a dad (Daniel Roebuck) getting an assist from his kids in order to pull off an elaborate Halloween "trick". Like I said at the time, it has a definite Monster Squad feel to it, and is charming, funny and a great way to introduce your youngster to the wonderful world of horror. The film is available to buy as well, but if you want to watch it free online, the director recently posted the complete short on Vimeo for public viewing. It stands out as one of my personal favorite films of the past couple years.
The opening flashback was a pitch scare. Everything from the
little girl with Downs syndrome telling the redheaded twins they were “going to
die in there” to the mongrel bleeding out was a terrific homage to haunted
house films. Love the creepy infant heads in jars. Not quite sure what the
misshapen dwarf thing is but I’m sure we’ll see more of it in the next few
weeks. Also love the opening credits. I'm a sucker for creepy looking old time photos filmed in sepia tone.
Not so keen on teenage angst ridden Violet. The “We’ll
take it” line sealed the deal for me. Here’s the skinny Bratula-buying a home,
even one NOT weighed down with a history of bizarre murders and suicides is
terrifying in and of itself and kids that make six bucks an hour poring me
coffee don’t get to make that decision.
I want to do filthy, nasty unspeakable things to Alexandra
Breckenridge. The “sexy ghost maid giving herself a little diddle” moment was
just plain hot. Much more so than the next scene of Dylan McDermott crybaiting. Maybe the show is overcompensating for not bringing anything new to the genre in terms of scares by adding an over the top sexual angle but I'm okay with this if it involves more shots of Breckenridge's exposed thighs above her garter socks but below her skirt.
Someone needs to hand Jessica Lange a napkin so she can wipe
the scenery off her chin. Granted, she’s being spoon fed some awfully corny dialogue
(references to her little “mongoloid” and calling her ex-gay neighbors “those people”) though I did enjoy her warning
Frances Conroy (sharing maid duty with Ms. Breckenridge) to back off or she’ll
kill her…again. Cue the dun dun dun
music.
Speaking of music, nice to see the discordant soundtrack
from Insidious make an appearance during the scene where Violet and future
Columbine Boy trap the local bully in the basement. Not sure if the Ghoulie
like creature is some sort of psychic off shoot of the kid or if he genuinely
had no clue something else was down there. Was getting a heavy "Jacob from Lost" vibe in that scene, only if Jacob was some sort of vampire like she demon instead of---wait, what the hell did Jacob end up being again?
Where can I get me a latex bondage outfit like that or would
it make my butt look too big? Did anyone else get the inkling that midway
through sex with the ghost in the gimp costume Vivien (Connie Britton) knew it
wasn’t her husband but was more than happy to exact a little payback on his
cheating ass? Also, if she has a ghost baby will we see a sequel to Ghost Dan?
I’m crossing my fingers for a Cosby crossover
Between the basement dwelling mutant, the chatty next door
neighbor and her disabled kid, psycho boy, two-face, sexy/spinster dead maid
and BDSM ghost the pilot sets a lot of threads in motion right out of the
chute.I’m not sure how wise that is as
this is the kind of program audiences could easily fall out of favor with if
the threads grow too confusing. Heck I’m not sure I like the show yet, but I do
know I’ll watch it again next week.
While I couldn't make out the trek to Los Angeles myself, when offered a pass for SHRIEKFEST, I knew there would be too many good films on the docket to ignore. One of my oldest and closest friends stepped in to save the day. Below is Joan's recap on some of ShriekFest's highlights. Congratulations to all the participants who had their work screened-Mike
You can imagine my delight when Mike called me and asked me
to cover SHRIEKFEST in LA this past weekend.
I felt honored excited to hit the festival and wrangled up a few friends
and went to catch some flicks. The Saturday
early matinee was sparsely attended, but the fest organizer and directors were
friendly and welcoming. The site of the
fest was nestled deep in the heart of an LA film set, so the theatre was small
and very comfortable if you were there for an entire day of films.
The shorts on Saturday were an interesting mix from truly
scary to thoughtful to weird. For those
who like a good scare with gore, take a look at J.T. Seaton’s Divination,
where a psychic learns that you can’t lie to the dead, only to the living. Stupid living! For those of you who like well
thought out shorts then David Matthews’ Murderabiliais a can’t miss. Here,
Matthews plays with setting, scene, and context in order to get the audience to
think in more depth about the characters and their motivations, all the while
delivering an excellent story. Ashleigh Nichols
and Eddie Beasley’s Summer of the Zombies (reviewed here), while cute, came
as a welcome comedic relief after seeing Caruso’s Zombie. Zombie details the life of a
Dahmer-inspired convicted sex offender who seeks out a young
man to be his tenured slave. Some scenes
in this film were extremely uncomfortable leading to a lot of nervous laughter
from the crowd. I can’t say that I
didn’t like the short, but it weighs like a nightmare on the brains of the
living.
We went back on Sunday to Catch Mike Flanagan’s Absentia* (reviewed here) and thought it is a terrific horror/sci-fi flick. The theatre was packed, but we happened to be
sitting next to the crazy lady who had a raging boner for Flanagan’s work. Everytime his name appeared on the screen she
screamed and asked her friend if he was single or still dating ____. It is always so awkward to sit next to a
‘talker’ in the theatre because you want to strangle them, but not ruin
everyone else’s immersion. Absentia is set in LA, but it draws on
the folklore from Anytown USA. It seems
like every town has a mysterious tunnel, wooded area, or haunted sewer drain,
so it was very easy to get into the plot and stay there. The director uses the camera effectively in
ways that had the audience cringing as close-ups drew back slowly for the wide
angle and imminent terror. There were
also fantastic plot twists and drawn out scares (that always delivered). This film is very postmodern in its approach
to the plot and characters (multiple believable realities), while the ending
leaves the audience member wondering if what lies beneath LA.
In its 11th year, SHRIEKFEST delivers high
quality films, budget prices, and a very comfortable festival vibe. Mike, if you miss it next year you’ll regret
it again just like you do reading this review. HA!
* Winner: Best Horror Film**
** Also playing in Boston October 14th as part of Shudder Fest
Pardon the pun but it seems like zombies have been done to
death. From literature to video games to television to film the walking dead
are the go-to monster of choice for creators. Despite the abundance of material
few works examine things from the zombie’s point of view, as it’s generally
taken as a given that the monster retains no memory of its old life and simply
lives to shamble (or sprint) aimlessly in a never ending quest for human
brains. The snappy new short “Summer of the Zombies” adds a new wrinkle by allowing
the titular zombie to remember important aspects of her life.
Summer (Casey Gates) is a cute, PETA supporting, granola
eating hipster that pulls into her driveway unaware that there’s been a zombie
outbreak. Before she can make her way in to her home she’s attacked from behind
and bitten. Woozy from the bite she passes out on her floor only to wake up a
member of the walking dead.
Standard stuff so far, but Nichols and Beasley tweak
conventions set up the occasional snappy line and visual gags to make the short
enjoyable. As a former resident of a nine person shared home in Boston, I
appreciated Summer’s chubby, bearded roommate’s line about wanting to “call a
house meeting” to discuss her insistence on attacking him before he runs off in
terror.
What sets Summer apart from other zombies is her refusal to
eat meat. Even in death the thought of sucking down brains through the
crazy-straw like intestines of her fellow man fills her with revulsion. She trades
of flesh for fennel. The other zombies take note and taunt her without mercy.
Soon she’s a complete outcast, shunned by both the living and the dead. It’s
not until she stumbles across a lettuce munching fellow deadhead that
acceptance and perhaps true love can blossom (and yes, the visual of two
zombies “running” towards one another across an open field while the music
swells is depicted here for a healthy laugh).
Backed with an upbeat jazzy score, “Summer of the Zombies”
is a smart and funny take on conformity and staying true to one’s self despite
peer pressure or the lack of a beating heart. It adds a simple, clever twist to
the tried and true zombie formula that gives it a leg up over the hundreds of
other zombie short productions that litter the web or enveloped screeners. As
it continues to play the horror festival circuit (including this past weekend’s
Shriek Fest in Los Angeles) keep your eyes peeled for it.
