Thursday, November 5, 2015

WTF! Drops Red Band Trailer

AnythingHorror Central
WTF! Drops Red Band Trailer

Yes, the upcoming horror film, WTF!, has released its first red band trailer, and it is pretty damn fun. WTF! is directed by Peter Herro, is written by Herro, Adam Buchalter, and Christopher Centanni, and stars Callie Ott, Nicholas James ReillyAndrea Hunt, Perez Hilton, Shawn C. Phillips, Sarah Agor, Ana Dela Cruz, and Nick Stellate. Check out the press release and the red band trailer below:

Peter Herro’s WTF! Releases First Redband Trailer 

The Blood Will Flow in 2016 

Los Angeles, CA– Peter Herro and Cthulhu Crush Productions have debuted the first trailer for independent slasher WTF! Lensed around Los Angeles this summer, WTF! follows a survivor of a mass killing on a trip with six close friends, when her nightmare threatens to begin again.

Herro directed from a script he co-wrote with Christopher Centanni and Adam Buchalter.  Callie Ott (The Horror), Sarah Agor (Hatchet II, VH1’s “Scream Queens”), Andrea Hunt, Ben Norris, Johnny James Fiore, Nick Reilly and Adam Foster starred as the unfortunate group of friends.

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Three years ago, twenty-two year old girl-next-door Rachel (Ott) barely survived a brutal massacre that left her friends in pieces. Time has passed, and Rachel has moved on, but unfortunately history has a way of repeating itself.  Her close friends are spending spring break in a secluded house in the woods, and they have cordially invited her to join. Little does she realize that another bloodbath will be showing up as plus one. Once Rachel and her friends arrive at the cabin, the partying, sex, and terror begins. 

WTF! is expected to be released in 2016.

Kyle Zingler produced.  Executive producers are Jody Wheeler and Steve Parker. 

Now dig on the red band trailer:

Stay Bloody!!!

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Filed under: Breaking News, Independent Horror Scene, New Posting, Upcoming Releases

Wednesday, November 4, 2015

Actress Linnea Quigley Picks Her Favorite Movie Murders

Shock Till You Drop
Actress Linnea Quigley Picks Her Favorite Movie Murders

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Cult movie Goddess Linnea Quigley reveals her favorite movie murders.

A few weeks back SHOCK rounded up a few of our famous friends to get some feedback about their favorite murders in the movies. You can read that feature HERE.

But we’re still getting stragglers coming by to lay their most memorable violent cinematic death sequence on us so we figured, hey, why not just go and make it an ongoing feature?

Here then, is the legendary cult film actress Linnea Quigley -who herself has been memorably murdered in countless horror films-laying a few of her faves on us.

From Linnea…

“I loved that first death scene in JAWS…”

“…but that isn’t really a murder scene. So…hmmmm…I guess my favorite scene would be from the 1932 film MURDERS IN THE RUE MORGUE with Bela Lugosi, where the lady is stuffed up the chimney and her hand comes down. It’s a subtle, unseen murder…”

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“…but then another murder that got me was in THE HITCHER, when Jennifer Jason Leigh gets torn apart…”

“So many good ones…it’s hard to choose!”

Indeed, it is. How about you. dear reader? Tell us about some of your favorite most foul murders from the movies in the comments section below!

The post Actress Linnea Quigley Picks Her Favorite Movie Murders appeared first on Shock Till You Drop.

80’s Horror Anthology NIGHTMARES Coming To Blu-ray

Shock Till You Drop
80’s Horror Anthology NIGHTMARES Coming To Blu-ray

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Beloved 80’s cult film coming to Blu-ray in December.

Years before he jumped the shark, or rather the shark jumped him, in JAWS: THE REVENGE, director Joseph Sargent tried his hand with horror with far sunnier results. We’re speaking here of the scrappy, late night cable TV favorite NIGHTMARES, a film that, while no masterpiece, is still tons of fun and held in warm, nostalgic regard by an entire generation of fright fan.

NIGHTMARES is an anthology creeper, spinning four unrelated tales of terror and the supernatural, all penned by writers Jeffrey Bloom and Christopher Crowe and starring a who’s who of cult movie royalty.

Now, after sitting sadly out of print for years, Scream Factory is dragging NIGHTMARES back into the waking world of high-def. The company has announced that December 22nd is the date fans of the film should circle on their calender’s for release, though you can pre-order your copy now at the official Shout/Scream Factory website.

NIGHTMARES is a fun, unpretentious chiller, PG rated and free of the kind of wanton carnage and exploitative sexuality that marked most of the early 80’s horror product.

Tales include “Terror in Topanga”, which sees THE SENTINEL star Cristina Raines being menaced by serial killer when she ducks out to but a pack of smokes. “The Bishop of Battle” sees a young Emilio Estevez breaking into an arcade to do battle with a sentient video game (amusingly, a pack of savvy NIGHTMARES fans have been attempting to create a legitimate “Bishop” game of their own).  In “The Benediction”, horror legend Lance Henriksen stars as a priest who stares down a satanic truck while battling demons of his own. And in “Night of the Rat” comedy hero Richard Masur and INVASION OF THE BODY SNATCHERS’ Veronica Cartwright come face to face with a king-sized vermin from Hell.

Bonus features on the NIGHTMARES Blu-ray will include:

Audio commentary with executive producer Andrew Mirisch and actress Cristina Raines Theatrical Trailer Radio Spots

Take a minute an a half of your life to absorb the cool NIGHTMARES trailer below:

The post 80’s Horror Anthology NIGHTMARES Coming To Blu-ray appeared first on Shock Till You Drop.

Cult Film Actor Jason Mewes Visits THE LAST HOUSE

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Cult Film Actor Jason Mewes Visits THE LAST HOUSE

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Cult comedy star Jason Mewes stars in indie exploitation film.

Cult movie star and frequent Kevin Smith partner in crime Jason Mewes (JAY AND SILENT BOB STRIKE BACK, ZACK AND MIRI MAKE A PORNO) leads the cast of violent exploitation shocker THE LAST HOUSE (an obvious nod to the already remade Wes Craven classic, LAST HOUSE ON THE LEFT). The film, which also stars Felissa Rose (SLEEPAWAY CAMP) and Ezra Buzzington (THE HILLS HAVE EYES…the remake) and is directed by Sean Cain (SILENT NIGHT), will be released on DVD and VOD via Wild Eye Releasing on November 24th.

Why bother with a rundown of the plot synopsis. Have a look at the trailer…

The post Cult Film Actor Jason Mewes Visits THE LAST HOUSE appeared first on Shock Till You Drop.

Tuesday, November 3, 2015

Check Out This Exclusive Clip From Dark Sci-Fi Flick UNCANNY

Shock Till You Drop
Check Out This Exclusive Clip From Dark Sci-Fi Flick UNCANNY

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SHOCK rolls out an exclusive clip from new Sci-Fi thriller UNCANNY.

Hitting DVD and Digital Video today via RLJ Entertainment is director  Matthew Leutwyler’s chilling new Sci-Fi shocker UNCANNY, a grim future-shock flick about a Frankenstein’s monster-esque android who starts to unwind.

Here’s a clip exclusive to SHOCK that will give you a taste of this thoughtful, old school science fiction parable, one that Bradbury or Asimov would most assuredly be pleased with…

For more on UNCANNY go HERE.

The post Check Out This Exclusive Clip From Dark Sci-Fi Flick UNCANNY appeared first on Shock Till You Drop.

In Defense of PSYCHO III

Shock Till You Drop
In Defense of PSYCHO III

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SHOCK builds a case for director/star Anthony Perkins’ haunting PSYCHO III.

“There is no God!”

So screameth fallen Sister Maureen who kneels before an illuminated statue of the Virgin Mary, fervently pleading for guidance, for a sign that God does in fact exist. Over the next 90 minutes, the narrative that slowly unfolds before both her and us, the audience, will provide an answer, albeit a cold, empty and ultimately tragic one.

Yes, Maureen, there IS a God.

And his name is Norman Bates.

For as the lost ex-nun wanders through the desert to the melancholy strains of Carter Burwell’s lilting title theme, towards the black, beaten down haunted palace that is the Bates Motel, it is clear that Charles Edward Pogue’s script for the Anthony Perkins directed sequel PSYCHO III has a metaphorical agenda, one with more than just kinky thrills and second reel shocks on its morbid mind.

Released theatrically in 1986 to generally dismal critical notices (except the late, great Roger Ebert who liked the picture almost as much as I do) PSYCHO III, though it boasts its fair share of graphic skin ripping violence, was at odds with many of its mid 80’s slasher flick contemporaries in that it favors atmosphere, allegory and character over a running time-padding body count. The movie is profoundly aware that it hasn’t a hope in matching or exceeding the import of Alfred Hitchcock’s groundbreaking 1960 black comic nail biter masterpiece and has little interest in following in the footsteps of Richard Franklin’s Tom Holland-scripted1982 effort Psycho II. It instead elegantly mounts itself as a Tennessee Williams-tinted musing on the desperate lives of a pack of profoundly lost, achingly downtrodden people who, like many of us, are just looking for an exit. And of course, there’s plenty of nudity, blood and homicidal transvestitism thrown in, just to balance the scales.

Now, then. The plot…

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Reeling from a botched suicide attempt that results in the death of her Mother Superior, disgraced Bride of Christ Maureen Coyle (Diana Scarwid, MOMMIE DEAREST) packs a suitcase and hits the road to nowhere. Her aimless travels lead her to the dilapidated but still functioning Bates Motel, the legendary road stop inn run by recently released cross dressing, mother obsessed psychopath Norman Bates (once again essayed by the inimitable Perkins).

When we last saw Bates in PSYCHO II (this film takes place one month after the climax of that picture), he was legally sane and attempting to re-adjust to normal life. Of course, certain people, still bitter over events from the first installment, did their best to drive poor Norman mad anew and succeeded smashingly. Now the twitchy, aging corduroy blazer wearing lunatic lives a quiet life of simmering but stabilized dementia with his newly stuffed, completely dead, still perched in the window ‘mother’. That is, until the damaged Maureen strolls into town.

A ringer for Marion Crane, Janet Leigh’s untimely shower slaughtered victim in the original, (they even have the same monogram) Maureen’s blonde, wispy presence sends Norman swirling into a neurotic tailspin, the projected voice of his desiccated matriarch urging him endlessly to just ‘kill the whore’. He reluctantly obliges, finally donning mom’s duds and sneaking into cabin one, butcher blade in tow only to uncover the troubled Maureen lying in a tub of her own blood, red stained razor by her side, wrists still pumping fluid. As her self-destructive life force ebbs, she imagines the wigged, frocked Bates to be the Blessed Virgin and, after Norman opts to drive her to the hospital, thus saving her life, the girl becomes fixated by the notion that the serial killer is her savior, her light at the end of long, dark and troubled tunnel. As their ensuing, awkward and childish romance evolves, Norman’s new employee, a greasy drifter named Duke (a stubbly Jeff Fahey at the top of his scumbag game) and a tireless female tabloid reporter (THE CHANGELING’s Roberta Maxwell) are keeping their eyes on the madman, waiting for him to buckle. And buckle he does, of course…

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PSYCHO III marks the directorial debut of the eternally typecast Perkins (who, by this point must have signed on as Bates with the contract clause that he would only do it if he could be boss behind the lens) and truly, he does an outstanding job here. Reverently tipping his hat to his master, Perkins’s picture is indeed ripe with the same shuddery, off color shock humor that marked Hitchcock’s’ best work (Hitch himself often confessed that Psycho was intended as a ghoulish comedy); witness the scene where amiable yet obtuse Sheriff Hunt (Hugh Gillin, reprising his role from Psycho II) vehemently defends Norman’s honor while absent mindedly huffing ice from the ice machine, his fat fingers narrowly missing the butchered spoils of a recently dispatched female victim while repulsively (and hilariously) scarfing down the blood dripping cubes (and licking his fingers no less!). But again, Perkins and screenwriter Pogue (he of Cronenberg’s THE FLY) are far less concerned with imitation than they are at observing the patterns of hearts without hope. And when PSYCHO III really works, it’s because the filmmakers are walking besides Bates, dragging him out of the shadows and studying him out in the open, somewhat sympathizing with his deranged plight, even as he drags his blade across the exposed throat of yet another unwitting woman.

See, the tragedy of Norman Bates – and make no mistake, Bates IS a tragic figure – is that he is, at his core, a good person. Yet so fractured is his fragile psyche from years of protracted childhood abuse that his mind has essentially split (much like the famous Saul Bass title treatment) leaving him at constant war with himself and the grim, torturous reality of his hopeless situation. In PSYCHO III, it’s clear that Norman is fully aware of his madness, with the notion that the ‘thing’ he calls mother doesn’t necessarily exist outside the parameters of his perception. But, exhausted after years of keeping her blood hungry presence at bay, he has simply resigned himself to accepting her, living with her and thus drowning in his own lethal, sexual psychosis.

Now, down to brass taxes: Is PSYCHO III a ‘good’ film?

Well, much like Dr. Fred Richmond explains in the epilogue of the original, yes… and no. I believe the film works incredibly well as a meditative, meandering mood piece and sneering growl against the folly of blindly following an organized religion. For what is our doomed heroine Maureen if not a human pinball, crushed by the oppression of the church and yet still foolishly seeking some kind of messiah, a reason outside of herself for existing? In fact, I find the off kilter relationship between her and Bates to be the single most interesting element of ANY of the Psycho films, the most real, the most human.

I’m also in love with the look of this picture, the dusty, John Ford-esque landscapes captured by cinematographer Bruce Surtees are breathtaking and, coupled with that delicious Carter Burwell score, push the picture squarely into an art house horror territory. But admittedly, what damages the movie and what depressingly prevents it from becoming what it might have been is the cheap, ineffective but obligatory 80’s gore and gratuitous nudity. I can’t believe I’m saying this but the useless boobs and open wounds really hurt the picture, cheapen it, drag it down into the low rent slasher flick ghetto when it clearly cries to be something more evolved.

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There’s one sequence in PSYCHO III that, for me, summarizes not only what is truly wonderful about the movie, but is one of the most lyrical scenes in the history of horror movies, period.

After the opening credits, when the camera fades into the motel and the tumbleweeds roll and the dust blows and the wind hisses, the camera pans up, up, up the hill to the Bates house. We see a birdfeeder and the various lovely winged creatures that are drawn to it, like the pretty things that have, in the past, gravitated towards the motel itself.

Suddenly a finch gets woozy, flapping its wings, shaking its head and dropping to the ground, convulsing in death. Then a blackbird follows suit, a sparrow soon after. The shadow of Norman Bates creeps into frame over the feathered, obviously poisoned bodies, and he then gently, tenderly, collects his feathered victims and places them in a brown paper bag.

The next scene sees Norman in his kitchen engaging in his favorite pastime (outside of murder), taxidermy. As he cuts open the belly of one dead bird, he scoops a preserving powder with a spoon into its hollowed out frame, the same spoon that he immediately dips into a jar of Peter Pan peanut butter and uses to spread the very same peanut butter onto a Ritz cracker before eating it.

From the corner of his eye, Bates sees the paper bag move. Both he and we believe it to be a twitch of his polluted imagination. But it’s not. It’s a bird, an inexplicable survivor of the hunt. Delighted, Bates cradles the fragile creature and smiling, opens his back door and sets it free. As the bird flies into the sky, we see a look of such calm, such sweetness across Norman’s face.

In less than 5 minutes, Perkin’s deftly defines the character that had dogged him his entire professional life, right up until his death of AIDS in 1992.
Child. Victim. Killer. Saint. Ladies and Gentlemen, I give you…..Norman Bates.

(Note: portions of this essay appeared in Chris Alexander’s Blood Spattered Book, from Midnight Marquee Press)

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Review: Visionary German Short Film HADES

Shock Till You Drop
Review: Visionary German Short Film HADES

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SHOCK raves about indie German short film HADES.

So few indie filmmakers toiling in fright take any real chances with their art these days. It’s all about easily marketed recognizable product being pumped out by people with either very little imagination or a terror of truly pursuing the fevers that sit nestled within their psyches.

The Europeans have long surrendered to the Freudian ID, letting style and movement and sound take center stage in their work and in doing so, their work affected and progressed the genre greatly. But with Martino in retirement, Argento losing the plot and Fulci long dead…who is left to explore the sensuality of shock?

Recently, we raved about a new Turkish film directed by Can Evrenol called BASKIN. There is a film that goes deep into the recesses of the mind and body to sculpt a living, breathing, stylized nightmare; a literal and figurative descent into Hell that is both challenging, upsetting and unforgettable. Evrenol is one to watch.

And now we can add Austrian filmmaker Kevin Kopacka to the list of audacious indies who put creativity first before convention. Kopacka’s new short horror film HADES is a dialogue free immersion into style and imagination that packs more into its lean 15 minutes than most features ever dare do.

Written, directed, scored, produced and edited by Kopacka, HADES stars Anna Heideggar as a young woman in love and yet trapped in some sort of color-saturated dream state of which she cannot awaken. The film is divided into sections that represent the five rivers of Hades, but are really bed sheet draped corridors and rooms of a labyrinthine apartment complex, lit like something out of SUSPIRIA (credit the art direction and lighting by Lukas Dolgner) and heaving with a palpable, somnambulist dread.

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Indeed it’s been some time since I’ve seen a film capture the hazy, uncanny feeling of the dream-state, where the natural world we are used to becomes obscured and threatening. Kopacka illustrates Heideggar’s journey through Hell not with blood, gore, explicit sex or any sort of rubber monster, but with a particular attention to sound design, music and jittery atmosphere. Shot on HD and Super 8, the film has been battered to look and feel like some sort of lost 8mm stage loop and it adds to the otherworldliness.

Those looking for a short film with laughs or any sort of narrative thrust or closure best look elsewhere. But those horror fans looking for something brave and sensual, where the art of cinema is treated as the moving painting it was always meant to be, would be wise to track down HADES at one of its multiple international festival screenings.

You can check out the trailer below.

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