In the new independent horror movie Refuge, Carter Roy, Amy Rutberg, and young actress Eva Grace Kellner play a family trying to survive in a post-apocalyptic world where the population has been almost entirely wiped out by disease. Given recent, panic-causing news events, the film could hardly be more topical. So what is it like to have made a movie about a global pandemic just as people are reaching for their face masks? “It’s incredibly coincidental that it’s peaking right now,” says Refuge director Andrew Robertson, whose film recently played the Toronto After Dark and L.A.-based Screamfest genre festivals. “It’s certainly not something that we would want to exploit. The particular nature of this extinction event just happens to be a plague. But there are so many other things that we have anxiety about: nuclear war, or asteroids hitting the earth, or climate change.” And a “Happy Halloween!” to you too, sir!
Tag: Film (11-20 of 1101)
Horror directors these days seem to almost automatically genuflect before the altars of such ’70s and ’80s filmmakers as John Carpenter and Dario Argento. But writer-director Jennifer Kent sought inspiration from much older auteurs while crafting her debut film, the much-acclaimed, Sundance-screened, The Babadook. “I’ve watched everything, from Mario Bava to Dario Argento—all of those ‘70s guys, including John Carpenter, who I love,” she says. “But I feel very drawn also to the early stuff. There were directors in the ’20s and ’30s—Carl Dreyer, Fritz Lang—who were making films that were art and they just happened to be terrifying. I think somewhere along the way we denigrated the art form and horror really has become a dirty word. I think that’s a shame, because it’s really cinematic.”
Horror anthology sequel ABCs of Death 2 delivers a second slate of 26 fatality-featuring short films overseen by an array of directors, which, this time around, includes Evan Katz (Cheap Thrills), Larry Fessenden (Beneath), Rodney Ascher (Room 237), Jen and Sylvia Soska (American Mary, See No Evil 2), Vincenzo Natali (Cube, Splice), and Julian Barratt, from cult British comedy duo The Mighty Boosh. But one of the film’s highlights comes very early with its opening credit sequence, an animated riff on the children’s books which inspired the franchise in the first place.
More than a quarter of a century ago, author and Hellraiser director Clive Barker set out to create what he intended to be “Star Wars for monsters,” a film called Nightbreed in which a group of freakish-looking creatures would be the heroes and mankind itself the villains. But the Nightbreed thathit theaters in 1990 was both a box-office flop and far removed from Barker’s vision following edits mandated by Morgan Creek Twenty-five years later, horror imprint Scream Factory is releasing this week a long-awaited “Director’s Cut” of the film on Blu-ray—with the approval of Barker and the support of Morgan Creek—that utilizes long-lost film elements recently discovered in a midwest storage facility.
In addition to the longer cut of the film, the Blu-ray also boasts a number of bonus features, including a documentary called Tribes of the Moon: The Making of Nightbreed. You can see a clip from that film below—and you can read more about the story of Nightbreed in the current issue of Entertainment Weekly. READ FULL STORY
Directed by Jesse Moss, new documentary The Overnighters , details the attempts of a Lutheran pastor named Jay Reinke to help the homeless migrants who flocked to the oil boom town of Williston, ND, in search of work.
“The lure of the boomtown and its powerful place in the American imagination resides in its seductive promise of redemption and fortune for the brave and the desperate,” Moss says in his director’s statement. “It is this theme—played out in stark, raw terms in North Dakota and viewed through the prism of Pastor Reinke’s Church—that drew me to this story. As a student of American history, I was fascinated by the idea that a boomtown existed in modern-day America. Stories about Williston suggested an intoxicating and possibly combustible mixture of oil, men, money, opportunity and crime.” The Overnighters enjoyed an acclaimed festival run, currently boasts an impressive 95% score on Rotten Tomatoes, and was awarded a B+ by EW‘s Leah Greenblatt.
What would you do if you discovered a sound frequency that allowed you to hypnotize people? Well, if you’re a fan of science fiction, movies you might compel them to watch the new film, LFO. Written and directed by Antonio Tublen, this sci-fi-comedy stars Patrick Karlson as an amateur sound engineer who makes just such a discovery and, according to the official synopsis, uses it to “indulge in his most megalomaniacal fantasies.”
What do you do if you wind up being in one of the most hilariously terrible films of all time? You make a comedy about it. That’s the exact approach being actress-turned-filmmaker Robyn Paris is taking. More than a decade after she appeared in writer-director-star Tommy Wiseau’s infamously awful cult film The Room, Paris has now launched a Kickstarter campaign to fund a Christopher Guest-style mockumentary about what happened to the cast after shooting concluded.
In the new horror film Starry Eyes, an aspiring actress named Sarah (Alex Essoe) discovers there are much worse things that can happen in Hollywood than not getting called back for that dandruff shampoo commercial. Written and directed by Kevin Kolsch and Dennis Widmyer, the tale of “paranoia and possession” garnered rave reviews on the festival circuit and is produced by Snowfort Pictures, the boutique production company that has been on something of a tear of late with Jodorowsky’s Dune, Big Ass Spider!, and Cheap Thrills. READ FULL STORY
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