Wednesday, November 11, 2015

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

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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.

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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.

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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.

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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.

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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…

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