Wednesday, November 11, 2015

A Secret History Unearthed. A Legendary Horror Walks Again.

Flames Rising Horror Webzine
A Secret History Unearthed. A Legendary Horror Walks Again.

Presenting an epic improvised campaign for Night’s Black Agents Roleplaying Game. Do your Agents have what it takes to face the Lord of the Undead himself?

The Dracula Dossier follows in the fully improvisational path of the award-winning The Armitage Files campaign. Players follow up leads in the margins of Dracula Unredacted, a rare edition of Bram Stoker’s masterpiece that reveals the terrifying truth behind the fiction. They’ll chase down the real characters from Stoker’s novel, their descendants in the present, and the British agents caught in the backblast. Directors combine these leads and notes with pre-prepared elements in the Director’s Handbook, including:

– Conspiracy nodes, eerie locations and vampiric beasts
– More than 60 supporting characters in vampiric, heroic, or in-between versions
– Different versions of the real Mina Harker, Abraham van Helsing, and the other stars of Stoker’s novel — and their modern-day successors, descendants, and survivors — who can drive the story in any direction the players look.Sample spread (Carfax)

Players choose which leads to track, which scarlet trail to follow. The Director, using the clear step-by-step techniques in this book, improvises a suitably blood-soaked thriller in response to their choices. Clear advice to players and Directors on improvisation, with extensive examples and guidelines, helps you set the scene. Together, you will read and write your own unique version of the Dracula Dossier. Follow the clues to end the story once and for all, and close Project EDOM forever. You will find, hunt, and kill Dracula, the king of the vampires. If you survive.

The Dracula Dossier: Director’s Handbook is available now in PDF format at the Flames Rising RPGNow Shop!

Also available now from Pelgrane Press:

Take your players on the greatest vampire hunt in history—more than a hundred years in the making.

Dracula is not a novel. It’s the censored version of Bram Stoker’s after-action report of the failed British Intelligence attempt to recruit and control the perfect asset — the ultimate weapon — Count Dracula. Kenneth Hite and Gareth Ryder-Hanrahan have restored the deleted characters and redacted information, inserting annotations and clues left by three generations of MI6 analysts. This is Dracula Unredacted.

This new edition of Dracula adds new letters and recordings, diary entries long thought lost, and documents suppressed by Her Majesty’s Government … until now. From the first tentative contact between British intelligence and the un-dead, to the werewolf of Walpurgisnacht, to the cataclysmic disappearance of Dracula in volcanic fire, read the story you’ve known for years … for the first time.

Dracula Unredacted does for the Dracula Dossier what Henry Armitage’s letters did for The Armitage Files or The Book of the Smoke for Bookhounds of London.

The Dracula Dossier: Dracula Unredacted is available now in PDF format at the Flames Rising RPGNow Shop!

The Dracula Dossier: Director’s Handbook and The Dracula Dossier: Dracula Unredacted are both available as stand-alone PDFs, or get 15% off as part of the Dracula Dossier Bundle or the Dracula Dossier Starter Kit with the Night’s Black Agents core book.

Exclusive Photos From Visionary New Film #HORROR

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Exclusive Photos From Visionary New Film #HORROR

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HashPoster2 3 new stills from visionary new horror film #HORROR.

Write, director, designer, actor, artist and visionary Tara Subkoff’s dynamic femme-centric giallo/morality play #HORROR is one of the most exciting and visually innovative indie horror films we’ve seen in years; a ‘fetish’ film whose style echoes that of TENEBRE-era Argento with healthy dollops of Polanksi and Cronenberg thrown in for good measure and yet, the movie still remains the product of its creator’s kinky, fertile mind. And  it’s decidedly feminine in its casting and texture. Which is a very, very good thing…

Based on a true tale about pre-teen cyber-bullying that led to grim death, #HORROR forgoes the muddy, brown digital look of most contemporary horror in favor of bright, white, antiseptic surfaces, snowy exteriors, surreal mise-en-scene and arch performances by vets Chloe Sevigny and Timothy Hutton.

On the eve of its New York premiere at the New York City Horror Film Festival tomorrow at 9:30pm (with Subkoff in attendance) at Manhattan creepy-culture venue Times Scare, SHOCK has three exclusive shots from the film to share.

We loved the film so expect more coverage in the coming weeks….

In the meantime, feast on these intense photos below and the trailer below that…

The post Exclusive Photos From Visionary New Film #HORROR appeared first on Shock Till You Drop.

FACE OF FIRE: An American Masterpiece

Shock Till You Drop
FACE OF FIRE: An American Masterpiece

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Writer Lee Gambin digs up and appreciates a classic dark American drama.

Set against the backdrop of mid-west America during the late 1800s, in a small halcyon town that is magically depicted as shadowy and a host to a enumeration of deep rooted secrecy, Albert (father of B-movie God Charles Band and director of the brilliant I BURY THE LIVING) Band’s FACE OF FIRE is a remarkably unsettling film and a crossbreed of body horror, American tragedy, child-centric coming of age and having been released in 1959, is most certainly a decedent reminder from the not so “long ago” catalog of magnificent Film Noir pictures of the forties.

The film tells the story of a well-liked, handsome and affable handyman named Monk Johnson (James Whitmore) who in an act of heroism is horrifically burnt and disfigured, rendering him a “monster” in the eyes of the townsfolk. However, what this provocative and genuinely creepy film does is present the true ugliness of human nature and the deadly repercussions of mob mentality. The bleak aesthetic is stark and striking, the incredible use of darkness and shadow play is mesmerizing, while the camera angles, movement, tracking shots, elongated shots that dare not break away into cuts and the deliberately theatrical staging and framing of characters make for both a beautiful and thoroughly uncomfortable watch. The film is a masterwork, and dances with dangerous territory with an acute expression of wholehearted risk and daring innovation.

Accompanying the opening titles is a remarkably haunting song sung by school children that is incredibly reminiscent of “Risseldy Rosseldy” from THE BIRDS (released fours years later). The lyrics belted out (and equally whispered) by the children evoke nightmarish imagery about a monkey in peril that struggles to fit in at a traveling circus. With this menacing song, the film instantly sets up the concept of the “freak” and the outsider as its centerpiece, but with it delivers an appealing and attractive image as its curtain raiser: small town working class children heading home from a day’s fishing. Among these children is the sensitive Jimmie Trescott (Miko Oscard) who is first seen with Monk Johnson, and the two could easily be read as father and son. Of course, we soon learn that Jimmy’s father is the kind hearted doctor Ned Trescott (Cameron Mitchell) who stands as the film’s grounded moral compass.

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Morality and mortality are eternally linked throughout the film, and thematically this is something that director Albert Band seems to be completely invested in. The predicament that Dr. Trescott is in whether or not to save Monk, rescuing him from death but ultimately setting him up for a drastically empty life makes for a dramatic crux in the narrative’s unfolding, and his perpetual trust, loyalty and devotion to Monk cements the film’s solid and well-intended heart. This film could have easily tipped over into carousel barker exploitation, but instead it marches to the beat of a maudlin character study and in many ways provides an insightful commentary on Ibsen’s “Enemy of the People”.

After we are introduced to Monk who is set up as a man who has played the field, been the local Lothario, is admired by men, lusted after by women and is a hit with the local children, we are invited into an intimate scene with his sweetheart who he wishes to settle down with. FACE OF FIRE delivers an anti-hero/monster who is not saintly, but instead wholly real and earthy – a hedonist in a sense who wishes to make himself an “honest” man. The tragedy in this is that he never gets that opportunity. Band uses sound and music in an electric manner, playing with diegetic musicality such as the marquee-positioned marching band trumpeting their compositions and then having it bleed into the alarming sound of the fire siren summoning the brigade to fight the oppressive flames that consume Dr. Trescott’s house. Monk races inside and rescues young Jimmy, but in turn is burnt and nearly killed. Along with the disfiguration of his face, Monk’s mental state is retarded and he is trapped by an inability to communicate. Much like Mary Shelley’s monster in the much referenced Gothic classic FRANKENSTEIN, Monk is misunderstood and feared by the townsfolk who seem to completely lose sight of the man they once cared for and admired. This is what the film does so brilliantly – it has a compelling keen interest in the monstrosities of human intolerance, disgust, abuse, callousness and the fear of difference.

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With the children’s nursery rhyme being reminiscent of THE BIRDS, there is another set piece in FACE OF FIRE that is reflected in Alfred Hitchcock’s ornithophobic masterpiece – that is, when a group of children sit around a table at a little girl’s birthday party and Monk appears in the window terrifying the little tykes. It seems to foreshadow the bird attack on young Veronica Cartwright’s seaside birthday party in Bodega Bay in Hitchcock’s eco-horror hit. Other stand out moments in the film include Monk returning to his fiancĂ© and staggering towards her while she screams in terror sliding across the floor and being cornered, a townsperson describing Monk as “the devil” with the wonderfully foreboding music underscoring his frenzied dialogue and Monk terrifying the townsfolk at an outdoor dance. However, it is the incredibly moving ending sequence that stands out as a criminally undervalued and underrated coda to a pathos-driven monster movie. In the final moments, little Jimmy watches his old friend and fishing companion stretch out his arms, lost in the memory of being caught in the fire. He leaves the other children that have taunted Monk, and walks over to the unfortunate outsider, and collects his hand, walking off with him to the fishing hole while his proud father and his wife (Bettye Ackerman) watch from the window with tears rushing down their cheeks.

The visual styling is reminiscent of Charles Laughton’s NIGHT OF THE HUNTER (1955) which also presents children as resourceful innocents that have a secret world hidden from adults, and it captures a sense of whimsical poetry that would be found later in films such as TO KILL A MOCKINGBIRD (1962) as well. Disfiguration is a thematic element that propels the film’s basic surface plot, and it does it just as well as films such as David Lynch’s modern attempt at classicist cinema THE ELEPHANT MAN (1980) and Peter Bogdanovich’s sun-kissed Christ-figure biopic MASK (1985), but it also is most definitely a horror film that runs a similar course to small town spook shows such as THE TOWN THAT DREADED SUNDOWN (1976), THE DARK NIGHT OF THE SCARECROW and even the slasher classic THE BURNING (both from 1981). The make-up design for the horrifically scarred and burnt Monk is effective and startling, and when he lumbers about with a cloak covering his face it is a distressing image. However, what is much more frightening is the ugliness that emerges as a result of the violence of the human spirit and the disconnection to empathy most of the characters that populate the film possess.

The post FACE OF FIRE: An American Masterpiece appeared first on Shock Till You Drop.

TV Recap: SCREAM QUEENS Episode 8, ‘Mommie Dearest’

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TV Recap: SCREAM QUEENS Episode 8, ‘Mommie Dearest’

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SQ_108_PP_sc5_1133R1_hires1 SHOCK belts out another episode recap of SCREAM QUEENS.

The dean takes the promised meeting with Grace, but doesn’t recall promising to tell her anything about the bathtub baby. She goes home and takes a shower. The setup is like PSYCHO, with the Red Devil approaching like Mother Bates. But Jamie Lee isn’t the victim like her mother; it is all a ploy. She appears behind the Devil and smashes his head into the wall. “I’ve seen that movie like 50 times!” The dean runs into the other room and calls 911, but gets an automated message. She hangs up when the Devil appears with a knife, and faces off against him with a fireplace poker. Dean Munsch holds her own, but then a second Devil appears, this one with an axe. To the dean’s surprise, a third killer joins the fray, this one in an Antonin Scalia mask. The dean gives a lengthy – and boring – monologue about how a former lover taught her Thai blood sports, and she kicks all of their asses. When she fights Scalia, she spouts off against his more ridiculous court decisions. All three killers end up running scared.

The next day, the dean meets with Grace once again, deciding that, now that the killers have come for her directly, it is time to be a little more helpful. She gives Grace the name of the Kappa who died birthing the baby: Sophia Doyle. Grace doesn’t believe it; her dad told her her mother’s maiden name was Mulligan. She is disappointed. She takes this info to Pete and start running a search on Sophia Doyle, but they can’t find anything. They need a new strategy and jump to a whole bunch of conclusions about the Hag of Shady Lane. Since she was the one who took the baby, and she was crazy, she would probably end up in a sanitarium. They go back to the asylum where Dean Munsch was being held. Picasso, the woman who painted them unrealistically fast when they were last there, offers them a painting of Gigi, based on absolutely zero information. When Grace mentions the woman would have had a baby with her, Picasso presents a painting of Gigi holding two babies, a boy and a girl.

Grace goes straight to Gigi with the painting, demanding answers. She found out that Gigi lied on her resume and she dropped out of Wallace University as a sophomore for “medical reasons.” Gigi throws some dime-store therapy at her, thinking that this is Grace’s way of dealing with her dad’s new relationship. To make matters worse, Gigi has a bombshell for Grace: Wes proposed. She reveals a teeny, tiny diamond engagement ring as proof. Grace goes straight to Wes, who is confused about what happened. The way he tells it, Gigi went to the mall to pick up some stuff for his place, like lamps and decor-type things. She came home with an engagement ring and Wes decided to play along so he could have mind-blowing sex. He promises Grace he won’t actually get serious with Gigi without talking to her first. Grace starts putting the pieces together, realizing that Gigi would have known her mom in college, which means Wes would have known her then. She runs from the house, scared and crazed, and Wes looks at himself evilly in the mirror. I think this is supposed to suggest he is one of the killers, but I honestly don’t believe he is.

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During all this, Grace has missed the drama o’ the moment at Kappa house. The Chanels have offered Denise (who is now living in the house, in #2’s room) $3 million in exchange for proof that Grace and Zayday are the killers. Denise starts her investigation with Jennifer, who has nothing bad to say about Zayday… then she remembers a story Zayday told her from high school, when the rich, popular girls lured her into their clique only to make fun of her. Zayday said that on that day, she would find a way to get real revenge against rich girls. Zayday overhears all this, confronts Jennifer and Denise, and warns them to leave her alone.

Denise goes to talk the Chanels into giving her an advance on the $3 million, to cover expenses. While she is doing that, the Red Devil kills Jennifer while she is recording her vlog. Denise and the Chanels head downstairs and find Jennifer seated upright on the table, covered in lit candles and melted wax. She is very dead.

The dean gives a press conference, announcing she is shutting down the campus indefinitely. “Congrats, Red Devil – you have won.” Hester and Chanel #4 lead a memorial for Jennifer while Chanel is at the Kappa house, screeching about how with school shut down, her whole life is ruined. She has a pair of Scotland Yard officers in the living room, demanding that they investigate, and insinuating that she will pay any price to see Zayday and Grace go to prison. The whole scenario is ridiculous: Chanel got them there by making death threats against the Duchess of Cambridge. Nonetheless, the officers investigate and find that Chanel #5 is her best suspect. She spends a lot of time on the Dark Web and hosts numerous chat rooms where the topic of conversation is always the best way to kill her roommate. Chanel doesn’t care about any of that; she wants proof that Grace and Zayday are killers. The cops don’t have any proof, but they do give her a file with Grace’s mom’s criminal record.

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When Grace returns to Kappa house, Chanel confronts her with what Scotland Yard found. Grace’s mother was Kappa president in 1995, the girl in the blue dress who was dancing obsessively to TLC’s “Waterfalls” in the first episode. She hooked up with Wes at the party and nine months later Grace came along, and her life fell apart. She changed her name from Bethany Stevens to Mary Mulligan, and has a rap sheet that includes multiple felonies including theft, drunk driving, and dealing meth. Wes had to sue for sole custody of Grace, and a year later, she died in a drunk driving accident. “You aren’t the baby in the bathtub. Accept that your mom was just a drunk, degenerate slut.” Grace slaps her and leaves. She confronts Wes with what she has learned, and he confirms that what Chanel said was true. Wes burned down their house to cover any evidence of Grace’s mom’s sordid past. “I committed arson to protect you!” he insists, as if that is something to be lauded. He planned to tell Grace the truth one day, but that day never came. Grace reminds him that she is her mother’s daughter and that he should stay away if he wants to protect himself. As soon as Grace leaves, Gigi enters with fake concern for Grace. She is failing out of school, and starting to lose her mind. Gigi suggests Wes take real action… maybe even committing her.

Now that she is living in the Kappa house, Denise has appointed herself house mother and is wearing Chanel #5’s clothes. She takes Chanel aside and chastises her for insulting Grace’s mother. She wants Chanel to apologize, and when she refuses, she threatens to go back to having sex with Chad. Chanel agrees – angrily. She meets Grace for coffee and tries to bond with her over their horrible mothers. Chanel’s mother wouldn’t let her attend her own graduation because she had a zit so big she thought it would bring shame on the family. The girls don’t quite bond, but Grace does accept her apology.

We finally see Boone, the guy who faked his own death in the second episode. He is at the gym when he gets a call. “All I do is work out and kill people,” he whines to the person at the end of the line. It turns out that Gigi was dressed as Antonin Scalia, and Boone is worried she is ruining their “brand.” He wants to kill Gigi, then finish what they planned. 

This was a tough episode to slog through. There were a lot of pointless asides and mini-flashbacks that were maybe supposed to be funny… but they weren’t. It felt like this episode jumped to more conclusions than usual and ultimately was just there to pad out the episode order.

The post TV Recap: SCREAM QUEENS Episode 8, ‘Mommie Dearest’ appeared first on Shock Till You Drop.

Tuesday, November 10, 2015

Felissa Rose to Attend Special Screening of SLEEPAWAY CAMP in Hollywood

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Felissa Rose to Attend Special Screening of SLEEPAWAY CAMP in Hollywood

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SleepAYO!2 Select cast of classic slasher SLEEPAWAY CAMP to attend special screening in Hollywood.

Legendary gender-bending slasher classic SLEEPAWAY CAMP will hit screens again, this time with cast members Felissa Rose and Tom Van Dell in attendance. Contemporary cult filmmaker James Cullen Bressak (PERNICIOUS) drags his ongoing horror screening series “Campfire” for another round for this special one-shot show, which will go down on November 28th at the Arena Cinema in Hollywood.

“(SLEEPAWAY CAMP) just screams 80s goodness!” says Bressack.
“In my humble opinion, Angela (Rose) from the SLEEPAWAY series is one of the best and most shocking slashers ever made. We all have our own camp memories. What better way to spend a campfire night at then with SLEEPAWAY CAMP crew!”

Rose and Van Dell will stick around after the show for a lengthy Q&A and there will be a mixer and reception pre-screening.

Admission is $12.

For more on the screening and the Arena Cinema go HERE.

The post Felissa Rose to Attend Special Screening of SLEEPAWAY CAMP in Hollywood appeared first on Shock Till You Drop.

WATCHMEN Star Jeffrey Dean Morgan To Play ‘Negan’ in THE WALKING DEAD

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WATCHMEN Star Jeffrey Dean Morgan To Play ‘Negan’ in THE WALKING DEAD

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Negan1 WATCHMEN actor to play villainous character in THE WALKING DEAD.

Great news for fans of AMC’s getting-better-with-age zombie series THE WALKING DEAD

The Hollywood Reporter broke the news today that actor Jeffrey Dean Morgan, so good in films like WATCHMEN and the underrated remake of THE LOSERS, will play the vile, villainous Negan, the crass, wicked SOB created by Robert Kirkman in the original TWD comic books.

Negan is a kind of post-apocalyptic Mafia don who terrorizes what’s left of the Alexandria community, extorting rations in exchange for protection. In the comics, it’s Negan who kills Glenn, not the horde of zombies who by all appearances tore the character to shreds in the 6th season’s 3rd episode.

To read the entire story, bust on over to The Hollywood Reporter now..

And in case you missed our recap of the 5th episode of TWD season 6, go HERE..

The post WATCHMEN Star Jeffrey Dean Morgan To Play ‘Negan’ in THE WALKING DEAD appeared first on Shock Till You Drop.

#Horror

Horror Movies in Theaters - Scary Movies 2015 - Fandango House of Screams New Movies
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#Horror November 20, 2015

Monday, November 9, 2015

Remember When Siskel & Ebert Reviewed CHILD’S PLAY 2?

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Remember When Siskel & Ebert Reviewed CHILD’S PLAY 2?

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Flashing back to the late Siskel & Ebert and their hilarious review of CHILD’S PLAY 2.

CHILD’S PLAY franchise mastermind Don Mancini posted this gem on his Facebook page earlier today and it’s too good to not share with you…

From Don:

“HILARIOUS SISKEL & EBERT REVIEW OF CHILD’S PLAY 2: ‘Truly frightening and well-made… But sick and unwholesome, a completely malignant exercise… It made me feel unclean.’ MISSION ACCOMPLISHED!”

The late film critics are among the most revered in history but their erratic readings of horror films make for some uproarious viewing, especially when watched decades later…

Have a look…

The post Remember When Siskel & Ebert Reviewed CHILD’S PLAY 2? appeared first on Shock Till You Drop.

Blu-ray Review: BOUND TO VENGEANCE

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Blu-ray Review: BOUND TO VENGEANCE

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Revenge thriller comes to Blu-ray from Scream Factory.

It would be easy to over think a film like BOUND TO VENGEANCE, to politicize it and to lard it in with the glut of rape-revenge horror films that academics have slavishly dissected and, ultimately, given more credence to than most of them warrant. The typical rape-revenge formula is a simple, perverse beauty and the beast distillation, jacked up for easy outrage and queasy titillation. Most of them try to have it both ways, reveling in the sordid, sad details of a crime and then apologizing for their actions by celebrating graphic scenes of revenge. True, most pictures in this tired sub-sub-genre are junkfood made for dimwits (apologies to dimwits), which makes the higher-education chin-stroking that surrounds them even sillier, like sending an elite food critic on assignment to review a 6-pack of Chicken McNuggets.

So, yes, on its surface BOUND TO VENGEANCE might seem like yet another post-LAST HOUSE ON THE LEFT toss-off, but it’s not. Unlike slick, reactionary trash like I SPIT ON YOUR GRAVE (original, remake, sequels, the whole ugly enchilada), BOUND only touches on sexual assault as its catalyst and never wallows in the gynecological muck to get its audience going. It’s a “what-if” action fantasy thriller about the victim flipping the balance of power and racing the clock. In fact, it’s the sort of film that Liam Neeson and Nicolas Cage seem to do these days (even the title sounds like a DTV Cage potboiler), except instead of an angry dad losing his shit on a gaggle of scumbags to save the day, it’s the character that usually needs to be saved steering the good ship vengeance.

After a run in festivals and theaters earlier this year from IFC Midnight (read our initial review HERE), the movie is finally making it to Blu-ray and DVD (a double format release) courtesy of Scream Factory, who occasionally step away from their awesome classics restorations to focus on contemporary pictures like this (though they offer absolutely no extras save for the trailer). Tina Ivlav stars as Eve, a young woman who when we find her, is chained to a filthy floor and about to be fed by her sniggering captor (Richard Tyson). But the tables turn quickly when Eve attacks the man and snatches his keys, unlocking her shackles and imprisoning the dazed, bleeding antagonist in his own trap. As Simon Boswell’s punishing electronic score swells on the soundtrack, Eve runs screaming from the house, looking for an exit and quickly realizes she’s in the middle of nowhere, her screams for help sucked into the night winds. She runs back to the house and in her rush to find car keys, stumbles upon a series of photos of other women, obviously in states of stress and abuse and apparently kept in other house scattered across the city. Suddenly pushed past the point of caring about her own fate, she bolts back to the basement where she beats the bastard some more and forces him at gunpoint to drive her to the other houses to find the other victims.

What follows is a violent, unpleasant and tense (and often, very strange) two-hander between Eve and her nemesis (who we later learn is named Phil) as he keeps trying to manipulate the situation and cloud her already fevered senses, resulting in much inadvertent bloodshed. But as the pair drive deeper into the blood-spattered night, Eve gets closer and closer to the ultimate truth about her situation.

BOUND TO VENGEANCE is ultimately a daft, pulpy descent into stylized nastiness. Director J.M. Cravioto takes a slim presence and works it hard, jumping between the grimy night scenes and flashback day-lit sequences, and exploits that deft, aforementioned Boswell score to full effect. This is really nothing more than a noir-infused action film, but it’s so sensational and baroque that it leaks easily into horror. I’m not sure if it’s a good film but it’s tight, taut, never dull and offers some nice deviations from the usual revenge programmer, enough that I certainly can recommend it as a fine bit of filthy time-wasting.

And if you want a similarly themed but intellectually superior film that invites deeper analysis, save your synapses for the recent psychodrama JULIA on for size. Now there’s a complex film that subverts expectations and transcends…

The post Blu-ray Review: BOUND TO VENGEANCE appeared first on Shock Till You Drop.

Review: Socio-Political Brazillian Horror Film HARD LABOR

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Review: Socio-Political Brazillian Horror Film HARD LABOR

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Chilling socio-political horror film HARD LABOR gets the SHOCK review.

The most definitive moment of ‘horror’ in Marco Dutras and Juliana Rojas’ HARD LABOR is its final shot. In it, an unemployed man at a motivational jobs market seminar rips off his tie and pushes out one of the most primal cinematic screams in recent memory. The man, Otavio (Marat Descartes), isn’t alone in his despair: he’s instructed, in fact, to join his fellow attendees in unleashing their ‘inner animal’ as they navigate an increasingly downsized Brazilian economy. For Otavio and the rest of these would-be bread-winners, the only thing worse than the emasculation of joblessness is the notion that they’d pay someone else to relieve themselves of it.

HARD LABOR isn’t an exploitation film but a film about exploitation, and in its quiet way, it earns the cry of despair its ending oppressively piles on. And yet, the events that precede HARD LABOR’s climax are another matter altogether — disturbing in their subtlety, disjointed as parts of the writer-director duo’s attempted whole.

Helena (Helena Albergaria), Otavio’s stoic housewife, purchases a grocery store whose earnings will provide their family’s new primary source of income. Soon after its grand opening, the store’s modest charm turns sour as it begins to show signs of containing some sinister secrets: a dog snarls at the storefront as Helena closes it for the night; black sludge seeps up through the cracks of the floor; large teeth turn up without rational explanation. Moments of creeping doom, indeed, and the meticulousness of their placement throughout HARD LABOR naturally begs the question: where does it all lead? (That Dutras and Rojas’ glimpse into Helena and Otavio’s domestic life, as well as the couple’s relationship to their newly hired live-in maid and babysitter, Paula (Naloana Lima), shifts the film’s ominous tone toward naturalistic familial drama keeps any answers tantalizingly vague).

Ambiguity, here, is the name of the game, and HARD LABOR has it in spades. This is thanks in no small part to Dutras and Rojas’ expertly honed kitchen-sink approach, which serves strongly their study of shifting power dynamics within the blood and business families of both Helena’s house and her store. Albergaria, Descartes, and Lima are uniformly excellent at embodying the symptoms of economic disparity that lead each of their characters, in their various forms of (un)employment, to either exploit others or become exploited themselves. As all of this social realism establishes what’s at stake (for Helena, it’s her family’s stability; for Otavio, his social identity; for Paula, her citizenship), an eerie discovery of gargantuan (werewolf?) skeletal remains feels as though it’s ready at any moment to provide some revelation that will, at long last, put the film’s collision of psychological horror and indie drama into perspective. Mystery begets surprise and climactic clarity — or so it seems.

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But this is where HARD LABOR gets caught up in chasing its own proverbial tail. The sometimes supernatural, other times earthly-yet-uncanny manifestations within the four walls of Helena’s store, we are made to believe, are anything but metaphorical: their existence is provable with the hard evidence — bones, ooze — that she and her husband observe and eventually collect themselves. And yet, these very manifestations are left so unexplained, so without even a hint of implication about their origin, that the menace of their presence evaporates. For a film that for so long plays out like a modernist twist on Kubrick’s symbolist vision of haunted spaces, HARD LABOR emerges as a love letter to THE SHINING that was given a second thought, scribbled out, and thrown away. While this isn’t necessarily a bad thing, the film is a litmus test of sorts, one that will measure how much stock audiences may or may not take in clues that are deployed throughout a narrative.

If you are willing to accept characters, events, and genre tropes (in this case, something faintly reminiscent of werewolf lore) as purely representative rather than ‘real’ — that is, that you look at them as standing for something rather than ‘being’ something — then you may come away from HARD LABOR with the impression that it’s one of the strongest foreign indie horror films of recent years. If you crave the feeling of being convinced of the ‘real’ threat of on-screen horror, then you may come away from HARD LABOR with the impression that it is not a horror film at all. Regardless of what category you may fall under, one thing in the film is clear: the gap wolf and man is closing. And even if HARD LABOR is more vexing than it is rewarding, that notion may be scary enough.

HARD LABOR just played New York’s Cinema Village and is now available on VOD through Fandor.
Review: Abstract Brazillian Horror Film HARD LABOR

The post Review: Socio-Political Brazillian Horror Film HARD LABOR appeared first on Shock Till You Drop.

ROCK ‘N’ ROLL NIGHTMARE Legend Jon Mikl Thor Subject of New Doc

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ROCK ‘N’ ROLL NIGHTMARE Legend Jon Mikl Thor Subject of New Doc

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Iamthor2 Metal and cult film hero John Mikl Thor subject of new documentary.

Canadian bodybuilder and heavy metal hero John Mikl Thor was renowned for showing off his manliness on stage by bending steel pipes, smashing bricks and blowing up hot water bottles. But his status as cult film superstar was locked down tight after his appearance in a pair of truly awful/awesome horror movies in the 1980’s: the ridiculous ZOMBIE NIGHTMARE and the sublime and ridiculous ROCK ‘N’ ROLL NIGHTMARE.

And while many people hold those two films (especially the latter picture) near and dear to their celluloid souls, some were left wondering what the Holy Hell happened to Thor?

Well, director Ryan Wise’s acclaimed documentary I AM THOR aims to fill in some of these blanks; it’s a tale of a mighty metal warlord rising from the ashes to take one more hammer-down on a comeback. It’s dramatic, funny, surreal and most of all, a portrait of a man who is unlike any other man that we’ve ever met.

Watch the trailer below:

I AM THOR hits theaters and digital download on November 20th from Dark Sky Films.

The post ROCK ‘N’ ROLL NIGHTMARE Legend Jon Mikl Thor Subject of New Doc appeared first on Shock Till You Drop.

Sunday, November 8, 2015

TV Recap: THE WALKING DEAD Season 6, Episode 5, ‘Now’

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TV Recap: THE WALKING DEAD Season 6, Episode 5, ‘Now’

Walker - The Walking Dead _ Season 6, Episode 4 - Photo Credit: Gene Page/AMC

Walkers - The Walking Dead _ Season 6, Episode 3 - Photo Credit: Gene Page/AMC

SHOCK recaps tonight’s episode of THE WALKING DEAD…with spoilers!

After the magnificent, existential KUNG-FU meets DAWN OF THE DEAD stand-alone episode last week, the relative zen is busted within the opening minutes of episode five, with the narrative bleeding back to the present-day Alexandria.

Pre-credits, we see a visibly dazed, morally lost Deanna (Fun fact: actress Tovah Feldshuh’s voice was used as the adult Jane for the narration of the 1985 Stephen King werewolf fave SILVER BULLET) stumbling around the gates at night when suddenly one ghoul turns to twenty turns to thousands and, leading them all, sprinting in near slow-mo is Rick. As Deanna tries to process the horror of what she’s witnessing, Rick screams (silently, as there is only ringing noise on the soundtrack) “Open the damn gates!”

They do. And the horde collapses against the wall, reaching, starving…

The ensuing episode won’t offer any answers about those lost outside the wall, rather this slower paced entry charts the decline of moral of the survivors trapped inside the city, with the living dead’s weight threatening to swallow them whole.

Rick runs down the exposition for the sake of the audience who might need some catch-up, and for the benefit of the survivors peace of mind. He does his typical preaching, with an optimistic sermon about the rest of the team and how it is only a matter of time before they come home. He mentions Glenn and we cut to a distraught Maggie who wants to believe Rick, yet cynicism is obviously ready to collapse her heart and hope, much the same way the zombies threaten to mow down the walls.

Morale in Alexandria is indeed beyond dismal, with citizens pushing over each other to raid supplies to feed their families while in the midst of what many of them believe is their last night on earth. And yet pockets of the populace still hold the fort, still hope for the best and still push forward. There is a glut of dialogue in this episode that feels like filler but is essential to fleshing out peripheral characters and their personas. At one point, a now dead survivor returns as a ghoul and Alexandra steps up to jam a knife through its eye while delivering a monologue about facing down fears and accepting the horrific realities of the “new world”.

Meanwhile Maggie suits up to venture beyond the walls to find her man. Never mind that she’s pregnant, the twist of the damsel taking charge and exhibiting selfless bravery is yet another reason why THE WALKING DEAD is superior, evolved horror entertainment. Aaron, who blames himself for Glenn’s absence that current zombie-crushed state, insists he go with her. The pair venture into the sewers to find a way out and instead accidentally unearth a pair of the scariest ghouls ever, a kind of amalgam of C.H.U.D’s and RETURN OF THE LIVING DEAD’s Tarman. They kill them of course but my God, are they creepy creations…

The pair abort their mission and head back through the tunnel. Their bonding is clear and we’re left to wonder that, if Glenn is indeed dead and by all accounts he is, these two might just hook up.

That night, Deanna goes wandering through the streets when she’s suddenly jumped by the hideous, now ghoul-ified Wolves member that Morgan kept prisoner in the last episode. Deanna snaps, grabbing a broken bottle and stabbing the screaming monster in the heart while blood jets out and saturates her face. Rick runs out and stabs the creature’s brain, finishing the job. Deanna tells Rick that she wants to live and wants to save her people.

Rick finds Alexandra in her garage and the pair finally connect with a kiss and the whisper of something more.

But as we cut to Deanna back at the wall, defiantly facing the swarm of zombies, the camera lingers on a spot on the wall…a weak spot….

And that’s the end of that.

See you next week…

The post TV Recap: THE WALKING DEAD Season 6, Episode 5, ‘Now’ appeared first on Shock Till You Drop.

CHAINSAW SALLY Director Jimmyo Burril Remembers Gunnar Hansen

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CHAINSAW SALLY Director Jimmyo Burril Remembers Gunnar Hansen

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Jimmyo1 Indie filmmaker and CHAINSAW SALLY director Jimmyo Burril says farewell to Gunnar Hansen.

Gunnar popped into my life in 1979 when I snuck into see THE TEXAS CHAINSAW MASSACRE at a midnight movie. The film changed my life, in the way I saw entertainment. Later as video made it easy to own your own copy of movies, TCM was my very first purchase. I didn’t know at that time that I would become friends with the guy on the cover. When we met, I was a fan boy. I asked the same questions everyone else did. Made the same comments about the film. Soon, we were making CHAINSAW SALLY, and he really seemed to love the character and the movie.

Our friendship grew, over the years since 2003 and it wasn’t too long that the idea of Leatherface had slipped away, and it was Gunnar who was my friend, not some college student who had chased Marilyn Burns around in the woods for a few weeks years ago. My friend was very smart, very funny, very sweet, especially to my kids, whom now call him Uncle Gunnar. He was not Leatherface. He was just Gunn. However, we often, in picking mode, which there was a lot of, called each other Mr. Face, and Mr. Sally.

We would, talk regularly, usually about nothing important. Sometimes it might have just be about what we were having for supper. We did have one tradition that I will share. When we went out, we usually got coffee, and nachos (The nachos were rarely to Mr. Face’s standards) which made the evening more fun as we had a common enemy… the cook. As we would part, in person or on the phone, one of us always added, “Don’t forget, you still owe me nachos.” I think it was our way of saying “I love you, and can’t wait to see you again soon.” So to my gentle friend… Mr. Face… You still owe me nachos dammit.

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Bill Moseley Remembers Gunnar Hansen

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Bill Moseley Remembers Gunnar Hansen

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Genre icon Bill Moseley remembers his friend and colleague, Gunnar Hansen.

SHOCK will be sharing memories from people in the business who knew, worked with and loved Gunnar Hansen, the recently passed horror icon first immortalized as Leatherface in Tobe Hooper’s classic horror masterpiece THE TEXAS CHAINSAW MASSACRE.

Here, we have another CHAINSAW franchise legend, actor Bill Moseley , who started his professional life with a show-stopper turn as the non-Hansen Leatherface’s deranged brother “Chop Top” in Tobe Hooper’s wild 1986 sequel, THE TEXAS CHAINSAW MASSACRE 2.

From Bill:

“So sad to hear of Gunnar’s passing. To me, he was the Dean of the CHAINSAW family; anything Sawyer ultimately led to Gunnar. He was kind, wise, gentle and funny, and I will dearly miss him. We had so much fun together over the years on the convention circuit, most recently earlier this year at Horror Con UK in Sheffield, England, and acting together in TEXAS CHAINSAW 3D. If there’s any consolation, it’s that Gunnar’s iconic and disturbing performance as Leatherface, horror’s greatest villain, will live on forever in THE TEXAS CHAINSAW MASSACRE.

Best wishes to his sweet Betty. RIP, brother.”

The post Bill Moseley Remembers Gunnar Hansen appeared first on Shock Till You Drop.

R.I.P. Gunnar Hansen (1947-2015)

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R.I.P. Gunnar Hansen (1947-2015)

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Horror legend Gunnar Hansen has passed.

We at SHOCK are saddened to wake up to the news that the original Leatherface has left us. Farewell to one of the of kindest, coolest cats we’ve met on our journey into horror film fan culture and a man whose long, storied presence in strange cinema will always be treasured by generations to come.

Gone, never forgotten. Gunnar Hansen. Passed at 68 for as of what was reportedly pancreatic cancer. The ‘saw is at rest.

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Saturday, November 7, 2015

Exclusive: Director of Stark New British Thriller CRUEL SUMMER Speaks; Trailer Revealed

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Exclusive: Director of Stark New British Thriller CRUEL SUMMER Speaks; Trailer Revealed

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Chilling British drama CRUEL SUMMER unveils new trailer; director speaks.

Echoing the gritty horrors of films like 1986’s harrowing THE RIVER’S EDGE, but with a decidedly contemporary Welsh twist is director Phillip Escott and Craig Newman’s new, fact-based dark British drama CRUEL SUMMER, a picture that riffs on the sad truth about human evil: that it is often born of simple boredom and fear.

Here’s the official synopsis:

Autism sufferer, Danny, escapes the inner-city and out to the country as part of his ‘Duke of Edinburgh’ award scheme. Little does he know, that bitter yob Nicholas (Danny Miller) is hunting him, stemming from a lie created by the enamored and envious Julia (Natalie Martins ). With the help of new boy Calvin (Reece Douglas), the three youths close in on Danny. As Nicholas’ behavior grows erratic and increasingly more violent, tensions rise within the trio, forcing Julia and Calvin to decide if they are capable of going through with Nicholas’ deadly plan.

SHOCK asked co-director Escott to tell us more about why he pursued the project:

“With Cruel Summer, Craig and I looked to examine an act of -seemingly -random violence. We were gripped by an horrific crime that took place here in the UK, a crime in which the perpetrators had no motive for their actions and it was this lack of reasoning that haunted us, ‘how did that day end up the way it did?’ we thought, and that’s the question that drove us to create CRUEL SUMMER. We wanted to explore how, over a 24 hour period, the impact of one’s actions can have harrowing consequences, as the inevitable tragically creeps closer and closer…”

With a haunting score by Josef Prygodzicz that gently references Clint Mansell’s work in THE FOUNTAIN, CRUEL SUMMER looks to be a sophisticated, emotional horror film, one that doesn’t need masked slashers or shambling ghouls to paralyze its audience.

Have a look at the trailer below and stay tuned to SHOCK for more details as we get them.

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Friday, November 6, 2015

Beefcake Clip From New Erotic Sci-Fi Horror Film OTHER HALVES

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Beefcake Clip From New Erotic Sci-Fi Horror Film OTHER HALVES

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New indie film blends erotic horror and evil apps.

Lauren Lakis and Mercedes Manning (who appears in REQUIEM FOR A DREAM director Darren Aronofsky’s new flick ZIPPER) star in the paranoid new indie psycho-sexual horror film OTHER HALVES, an erotic, satirical and techno-savvy film laced with more than just a drizzle of Sci-Fi.

And while the film is currently uncoiling its festival run, SHOCK got our sweaty paws on a new clip from the, er, body of the film.

Have a look:

The film is co-written (with Kelly Morr) and directed by Matthew T. Price. Here is the official synopsis:

“Synopsis: A team of programmers develop a revolutionary new dating app called Other Halves. On the night before the app is set to launch, they discover it causes strange side effects: users lose all self-control, becoming amoral, lascivious, violent, evil. They consider shutting the app down, but… evil is profitable.”

Evil apps. I do believe that is something new…take that for what it is…

For a full list of OTHER HALVES festival run and for more about the film visit the official site.

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