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Thanks to technology, we’ve all grown accustomed to seeing movies in IMAX with crazy 7.1 surround sound making us feel like we’re right in the middle of the action. However, over the course of the past few years, we’ve seen a resurgence in “novelty” showings of films wherein the feature is accompanied by a live score. Italian prog-rockers Goblin will be playing their iconic score from Dario Argento’s Suspiria at a screening next month, but if you’re not into the whole horror thing, then maybe today’s news is more your speed. The Dissolve reports that J.J. Abrams’ Star Trek reboot, and its sequel, Star Trek Into Darkness, will be traveling the country starting next month with live musical accompaniment from various local...
- Mike Bracken
Just when you thought you’d seen everything… here comes another 55 insane trailers to whip you into a frenzy in this collection of sick, depraved and hysterically brilliant movie previews from the golden age of Grindhouse cinema in Grindhouse Trailer Classics 4.
Following the successful and critically-acclaimed release of Grindhouse Trailer Classics 1, 2 & 3, Nucleus Films will once again take you on trip back to the “gory days” of cult and exploitation cinema with their latest unseen compilation of audacious theatrical trailers from the sleazy cinematic sub-genre known as “grindhouse”.
I’m a Huge fan of this series (check out this pic of my signed copies of the first 3 releases) so I’m super-excited to see what stupefyingly awesome trailers this collection has to offer. According to the press release, all of the trailers in this collection have been sourced from ultra-rare 35mm prints, many of which haven’t been seen since they »
- Phil Wheat
First time feature filmmaking duo Helene Cattet and Bruno Forzani score a bullseye with this gorgeous, grisly and unforgettable bloody valentine to 1970s Italian thrillers. Stunningly designed and shot, a woman's life from childhood to adult years plays out as a ghost story, sexual adventure and psycho chiller. Fans of Dario Argento, Mario Bava and Lucio Fulci will have a field day spotting the references, while others will be dazzled by this unusual, scintillating debut. »
Like many film enthusiasts, I love the Criterion Collection. I scoff at some of their selections—I won’t name names—but for the most part, I anticipate new releases with excitement and glee (June’s slate is particularly amazing). Of course, due to lack of finances, I can’t buy as many as I would like – though someday, I will own the entire collection, despite the current economy offering little to no financial opportunity for an individual with my interests and skill set, but I digress.
I do, however, have a minor beef with Criterion. While admiring most of their titles, I’d love to see more emphasis on genre stuff—especially horror. And don’t get me wrong, Criterion boasts some excellent titles—Carnival of Lost Souls, Sisters, The Vanishing, Godzilla, The Devil’s Backbone, Repulsion, plus the highly anticipated release of Scanners being not far off—but they need more. »
- Griffin Bell
It's almost impossible to tell what's going in this hyperstylised horror thriller that's virtually one long, claggy dream sequence
This hyperstylised horror thriller plays like a feature-length advert for a perfume that would smell like tuberose, leather and rotting meat, with top notes of fake blood and old cheese.
The barely there plot concerns a man Dan Kristensen (Klaus Tange) who returns home from a business trip to find his wife has disappeared. She may have been murdered by someone or something within the gorgeous art nouveau apartment building in which they live. But it's almost impossible to tell what's going on, given the film is nearly all dream sequence, claggy with narrative digressions, flashbacks and freaky visuals, often of vagina-shaped head wounds, extreme close-ups of eyes, and a nipple being scraped with a knife that directors Hélène Cattet and Bruno Forzani like so much they show it six times. »
- Leslie Felperin
The “horror musical” concept is a bit of an oddity in cinema history. Surely, everyone is aware of the most popular grandaddy of them all, The Rocky Horror Picture Show, or Brian DePalma’s underrated classic (that came one year prior in 1974), The Phantom Of The Paradise, which has found a new appreciation in later years. Most of these films are deeply-rooted in cult cinema, as not everyone is as receptive to the genre-smashing as others. In the following decades, similar films have periodically taken stabs; such as Little Shop Of Horrors in 1986, South Park’s Trey Parker and Matt Stone’s Cannibal! The Musical in 1996 and Tim Burton’s 2007 revision of Sweeney Todd: The Demon Barber Of Fleet Street (which, like Rocky Horror, originally hails from the stage). However, in the last decade, similar films have begun to surface and also attract cult status. Darren Lynn Bousman’s 2008 Repo! »
- Josh Soriano
Giallo films have been a part of our beloved genre’s landscape for decades now and it’s safe to say that one of the reasons these films have endured is due to their remarkable musical scores. Italian progressive rock band Goblin, who worked on such classics as Dario Argento’s Suspiria, Deep Red, Profondo Russo, Tenebre, and George A. Romero’s Dawn of the Dead, toured the Us for the very first time last fall and is heading back to the States this spring for another incredible tour.
To celebrate their return, Daily Dead recently chatted with band member and iconic musician Maurizio Guarini about what fans can expect for this second tour. Guarini, who has been with Goblin off-and-on (mostly on though) over the last few decades in addition to working with other musicians on projects like The Beyond, City of the Living Dead and the original Patrick, »
- Heather Wixson
*Editor’s note: Icons of Fright friend Derek Botelho is set to release his new novel, entitled, The Argento Syndrome, an in depth look at the career of horror master, Dario Argento. The book features many candid interviews with everyone from John Carpenter and Asia Argento, to screenwriter Sean Keller and many more. We asked Derek to contribute his five favorite films by Argento, and alas, here they are. Read on!
When the name Dario Argento is uttered to a casual horror fan, you’ll often get a blank stare, or a puzzled, “Who?” in return; replace the neophyte in this situation with a horror junkie, the reaction could be a chuckle followed by, “He hasn’t made a good movie since Opera”. It’s a common, knee jerk, and dangerously nostalgic reaction I’ve been audience to many times. While it’s true that his career has seen better days, »
- Jerry Smith
Let’s face it: being bad is always so much more interesting than being good. Much of my early years were spent in a small church, filled with many youth sleepovers in which a young Jerry would get scared shitless by people saying that Satanists were kidnapping and killing kids everywhere and that I would burn in hell if I listened to metal or watched horror films. Bummer for those folks, because talks of cults and the devil and metal and horror films only led to what ended up becoming an obsession, due to those subjects being so “bad” and taboo.
I grew up with an obsession and adoration of horror films involving cults, the devil and witches, and since April is Icons of Fright’s 10-year anniversary, we wanted to provide a nonstop assault of fun, original content, all written in our own respective voices. When thinking of that, »
- Jerry Smith
For the first time ever, an incredible ballet of bloodshed will commence on screen.
The story is simple on the surface with a sinister subplot that will not be revealed to the naked eye as twelve innocent souls fall prey to the sentimental slaughter. Jared Masters made it up.. Although the story will unfold against a backdrop of Tchaikovsky's Swan Lake as in Black Swan by Darren Aronofsky, the film just might take on more of a tone similar to Dario Argento's Susperia, while delicate dancers perform their last.
Ballerina Massacre Aka Ballet of Blood is in its early stage of pre-production and is scheduled to film this year. Densely poetic and tribal, the film will feature explicit gore, rumored to be a thirty-gallon picture (Slink, also directed by Masters, used five gallons).
There’s not much we are allowed to tell you about this disturbing film, but »
We’re back with another edition of the Indie Spotlight, highlighting recent independent horror news sent our way. Today’s feature has first details on multiple projects including Night of the Living Deb, The Broadcast, Dial 9 to Get Out, and House of Forbidden Secrets, a monster themed giveaway from The Hub’s Spooksville, artwork from The Walking Dead Tribute, trailers for Infliction and Damned Love, and much more:
Night of the Living Deb Casting News: “Night of the Living Deb is an indie movie in development from producer Kyle Rankin (Battle of Shaker Heights, Infestation). Attached actors include David Krumholtz (“Numb3rs,” This is the End, Ray), Michael Cassidy (Argo, “Men at Work,” “The Oc”), Ray Wise (“Twin Peaks,” “Reaper,” “Mad Men”).
It’s a female-driven action-horror rom-com set in the world of a zombie apocalypse on Christmas.
The crowdfunding campaign is gaining popularity for its unusual approach: rather than the »
- Tamika Jones
This week on the couch we have James Roday and Jimmi Simpson watching The Cat o' Nine Tails. James is best known as Shawn Spencer on Psych, which recently wrapped up its eight-year run. He just finished his feature directorial debut, a horror-comedy called Gravy. Jimmi is best known as "that guy who you've seen in everything." Some of his recent projects include House of Cards, It's Always Sunny in Philadelphia, and Knights of Badassdom. The Cat o' Nine Tails was only the second film directed by horror auteur Dario Argento. A rather straightforward crime thriller starring Karl Malden as a blind journalist, Cat o' Nine Tails is considered a giallo film, a sort of stylized Italian mystery film that takes its name from the cheap pulp mystery novels of the first half of the 20th century. "Giallo" is Italian for "yellow," and pulp paperbacks originally used cheap, yellow covers. »
- Alyse Wax
After a phenomenal, sold out North American tour in 2013, Goblin is making a triumphant return to the Us this spring, and we have all the info you need right here. With only nine dates, tickets are sure to go fast!
Goblin scored a vast number of genre cult classics including Suspiria, Patrick, The Church, Deep Red, Tenebrae, and Dawn of the Dead. Their synth-heavy prog rock regularly veers into nightmarish and atmospheric territory, making them a truly original and iconic entity.
Their unique, high energy performances have become a thing of legend, and now they’re playing an exclusive run of dates in April/May 2014 throughout Florida, Arizona, Texas, and California. Check out the new tour poster, created by Ghoulish Gary Pullin, »
- Debi Moore
After a successful tour in the Us last year, Goblin is heading back to the States this spring with Zombi. We have a look at the brand new tour poster, created by “Ghoulish” Gary Pullin and the list of tour dates:
“The legendary Italian masters of the Horror Movie Soundtrack are best known for their collaborations with directors such as George A. Romero and Dario Argento, as well as their seminal album ‘Roller’.
Goblin has scored a vast number of genre cult classics including Suspiria, Patrick, The Church, Deep Red, Tenebrae and Dawn of the Dead. Their synth-heavy prog rock regularly veers into nightmarish and atmospheric territory, making them a truly original and iconic entity.
Their unique, high energy performances have become a thing of legend, and now they’re playing an exclusive run of dates in April / May 2014 throughout Florida, Arizona, Texas and California.
Goblin is also very pleased »
- Jonathan James
Elliot spoke to us about the marketing of a filmmaker’s vision, the inner workings of found footage, and whether it is a genre or a style of filmmaking. During our discussion he also touched upon the influence of the individual filmmaker, horror masterpieces directed by directors outside of the genre, as well as the terrifying presence of Richard Burton and Snow White’s nemesis.
The experience of a film can be radically different to what the poster quotes lead you to expect, as is possibly the case here. But then film like all art forms is dependent on the subjective reaction of a broad audience.
Well it’s interesting to have an idea of a film as you are making it and then »
- Paul Risker
To mark the release of White of the Eye on 31st March, we’ve been given 3 copies to give away on Blu-ray.
A serial killer is on the loose in and around the small community of Globe, Arizona, and housewife Joan White (Cathy Moriarty) gradually comes to suspect that her opera-loving hi-fi engineer husband Paul (David Keith) might know more than he’s letting on…
So far so familiar, but in the hands of British visionary Donald Cammell (who wrote and co-directed Performance with Nicolas Roeg), the film becomes a dazzling kaleidoscope of images and ideas, spanning everything from Apache folklore, desert landscapes and stylish murder set-pieces that recall Dario Argento to a painfully vivid dissection of the emotional fissures undermining a modern marriage. It’s all set to an equally eclectic score co-written by Pink Floyd’s Nick Mason.
Please note: This competition is open to UK residents only »
From the Press Release
Adam Gierasch’s noir horror thriller Fractured (formerly known as Schism), starring Callum Blue (Dead Like Me), Vinnie Jones (Lock, Stock & Two Smoking Barrels, X-Men: Last Stand), Ashlynn Yennie (The Human Centipede, The Human Centipede 2), and Nicole Laliberte (How To Make it In America), has a release date.
Fractured will be released day and date in theatres and everywhere digitally on Friday, April 11, 2014. Fractured is the first film being released under Seven Arts Entertainment's new genre label Dark Arts. The film will be available on all leading digital platforms such as iTunes, Amazon, and Xbox as well as cable and satellite VOD such as Comcast and other major providers.
The stylistically shot suspense thriller has received »
- Uncle Creepy
Directed by Pier Paolo Pasolini
Written by Pier Paolo Pasolini
A work that is chronologically and aesthetically his mid-period film, Teorema is Pier Paolo Pasolini at his finest hour. It is not Neo Realist cousin like Accatone (1961) Mamma Roma (1962), nor is it the debaucherous snarl of Salò (1975); it has a larger portion of the religious parable than The Hawks and the Sparrows (1966), and is as interested in sex as The Decameron (1971).
Teorema is a work of quiet suddenness. It moves quickly from documentary-style social film to its enigmatic plot, and Pasolini seems intent on doing away with any contrivances of a traditional narrative set-up. Within minutes of the opening credits the upper-class family at the center of the story receives a brief telegram: “Arriving tomorrow.” Immediately thereafter, the Visitor (or the Angel, as he’s sometimes called) is in their midst, disrupting and confusing husband, wife, son, daughter, »
- Neal Dhand
If you're looking for a diverse and entertaining horror themed podcast, hopefully you've already found 'Killer Pov,' the weekly horror talk show podcast hosted by Fearnet's own Rob Galluzzo, Fangoria's Rebekah McKendry and Inside Horror's Elric Kane. Available on both iTunes and directly from the GeekNation website (who produces the show), the gang recently celebrated their 50th episode (!) and joining in on the celebration was none other than director William Lustig (aka Bill to those that know him well)! Lustig was the man behind the original 'Maniac,' the 'Maniac Cop' franchise, as well as cult classics 'Vilgilante,' 'Hit List,' 'Relentless' and 'Uncle Sam' (currently streaming this week in The Vault with exclusive video commentary by Heidi Honeycutt & Jill Kill), as well as being at the forefront of home video entertainment with his company Blue Underground.
During the lengthy 2 hour chat, »
- Rob Galluzzo
The film The Den (review) brings a whole new, and much-needed, twist to the found-footage sub-genre of horror. Recently director and co-writer Zachary Donohue sat down with Dread Central to talk about his film.
For starters, Donohue discussed what he hoped to convey to the audience with The Den. "This is unlike any found footage movie you've ever seen," he said. "We wanted to create a movie that felt like you were on your own computer screen."
He added, "We wanted to convey this voyeuristic sense that maybe you shouldn't be watching this movie because you're privy to this character's emails, her chats. We really just wanted to tap into that idea of voyeurism."
But more than just peeping in on someone's life, Donohue also wanted The Den to portray the internet as it actually exists. "We wanted to create a funhouse," he said. "This is a movie about the internet, »
- Scott Hallam
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