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Fans of the V/H/S series who might have missed V/H/S:viral (read our review of the third installment here) during its VOD run can jump for joy, now that news of Magnet Releasing unleashing the found footage anthology film with everything from skaters fighting the undead to one pissed off magician onto DVD/Bluray on February 17th. Included in the release is the mysteriously missing Todd Lincoln segment, “Gorgeous Vortex“, which was originally announced as being part of the film but was absent during the film’s theatrical/VOD run.
Directed by: Nacho Vigalondo (Timecrimes, The ABCs of Death), Marcel Sarmiento (The ABCs of Death, Deadgirl), Justin Benson (Resolution, Spring), Aaron Moorhead (Resolution, A Glaring Emission), Todd Lincol (The Apparition) and Gregg Bishop (Dance of the Dead).
“A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens »
- Jerry Smith
The third installment of the highly anticipated horror sensation, V/H/S: Viral, arrives on Blu-ray and DVD February 17 from Magnolia Home Entertainment under the Magnet Label. Written and directed by a stunning collection of terror masterminds including Academy Award® nominee Nacho Vigalondo (Timecrimes, The ABCs of Death), Marcel Sarmiento (The ABCs of Death, Deadgirl), Justin Benson (Resolution, Spring), Aaron Moorhead (Resolution, A Glaring Emission) and Gregg Bishop (Dance of the Dead), V/H/S: Viral “is a magnificent collection of horror shorts from both established … Continue reading →
“Hold on to your tickets, it’s gonna be a big finale.” Reuniting Dance of the Dead alums Justin Welborn and Gregg Bishop, Dante the Great is one of several segments featured in V/H/S: Viral. The third entry in the found footage anthology horror trilogy comes out on home media early next year with a bunch of bonus features, including Gorgeous Vortex, an additional segment that was filmed by Todd Lincoln.
From Magnolia Home Entertainment, V/H/S: Viral comes out on Blu-ray and DVD on February 17th, 2015, with the following special features (via Blu-ray.com):
Gorgeous Vortex – A Short Film by Todd Lincoln Audio Commentary with Directors Bonestorm: Behind the Scenes Featurette FX Storyboards Galleries Dante the Great: Behind The Magic of Dante The Great Photo Gallery Director Interviews Axs TV: A Look at V/H/S: Viral
“A police chase after a deranged ice »
- Derek Anderson
Mexican writer-director Isaac Ezban comes to Ventana Sur with two films, “The Incident” and Blood Window’s “The Similars.” Making both films in one year was a whirlwind for Ezban, particularly since these are his first feature-length pieces — he cut his teeth as a maker of short films. Ezban’s signature lo-fi sci-fi aesthetic shines through in both outings, channeling the work of H.P. Lovecraft and episodes of “The Twilight Zone” as inspiration. Shoreline Entertainment acquired “The Incident” on Nov. 30 in a deal reported by Variety.
Your impressive short film “Nasty Stuff” gloriously bathed in Lovecraftian horror. Now your debut feature “The Incident” delves into intellectual/metaphysical science fiction. And right now you just finished your second feature film “The Similars,” which, by the look of the first teaser trailer, looks like it could have some horror again. So, are you more of a horror fan, or more of a science fiction fan? »
- Marianne Zumberge
Mar Del Plata, Argentina – Huseyin Karabey’s “Come to My Voice” topped the 29th Mar del Plata Fest on Saturday night, winning the Golden Astor for best film in International Competition. Karabey accepted the award from Paul Schrader, International Competition president.
Elsewhere, top plaudits in major sections had the virtue of shining a light on titles that threaten, like “Voice,” to be lost in the big festival title surfeit at a festival which, with hiked attendance, classy international guest master classes, federal government backing, stable management and dates pushed back to just before Buenos Aires’ Ventana Sur, has laid the foundations for further growth in the future.
Framed in a bard’s song and set in a Kurdish village, “Voice” tells a Kafkaesque tale of an ageing woman and young granddaughter forced to come up wuth non-existent guns that they can turn into Turkish authorities in the hope of freeing »
- John Hopewell and Anna Marie de la Fuente
Mar Del Plata – The subject tabled by moderator Pablo Conde for Thursday’s CarlosVermut/Nacho Vigalondo Mar del Plata Masterclass was Spain’s new cineaste vanguard. Whatever the movies which “Open Windows” Vigalondo and San Sebastian Golden Seashell winner Vermut (“Magical Girl”) next make – and Vigalondo gave at least one more detail of his monster-in-a-suit project: its title, “Colossal” – one thing seems certain: Both will make a large effort to be entertaining.
The major impression taken away from the duo’s far ranging response to Conde’s question, where topics ranged for example from Vigalondo’s self-confessed prowess at barfing to his memories of making a home-movie version of “Alive!” as a kid, was that both, if they ever gave up directing, could have a second-flush career as stand-up comics.
Both also made a pretty good stab, however, at guiding a Mar del Plata audience through some hallmarks of the novíssimo cine español, »
- John Hopewell
Good day, horror fans. This week.s new releases are pretty limited, though each has its own rewards if you.re near where they.re playing. First is the anthology horror V/H/S: Viral, a predictably scattershot affair that features a stellar short from Open Windows director Nacho Vigalondo (you can find this one on VOD if your local big screens aren.t showing it). The second one, a NYC exclusive for this week, is the Iranian vampire western A Girl Walks Home Alone at Night, which our own Kristy called "a seductive journey that defies convention" in her review. Here.s hoping that flick gets enough buzz to go wide in the future. In smaller news, Cheap Thrills director E.L. Katz will direct You.ll Be the Death of Me, a comedy horror that sees two New Yorkers. impending romance interrupted by a mask-wearing lunatic. Spike Lee. »
V/H/S brought us stories from Ti West, Adam Wingard, Glen McQuaid, and Joe Swanberg, among others. V/H/S 2 gave us far superior films from Gareth Evans and Timo Tjahjanto, Gregg Hale and Eduardo Sanchez, Jason Eisener, Simon Barrett, and Adam Wingard (again). For the third entry of the franchise, V/H/S Viral delivers another mixed bag, with entries from Justin Benson and Aaron Moorehead, Marcel Sarmiento, Nacho Vigalondo, Gregg Bishop, and Todd Lincoln, whose segment "Gorgeous Vortex" was cut from the film for mysterious reasons. The series' most challenging aspect remains its wrap-around segments, which serve to loosely link the stories together. For an anthology, one would assume that these would be among the strongest in the film; sadly, that's not the case. "Vicious Circles" features...
[Read the whole post on twitchfilm.com...]
'V/H/S: Viral' arrives in theatres tomorrow for those who've not yet caught it on VOD and hot on its heels is this latest alternative look poster for the anthology threequel. It's been kicking around On Demand for a little while now and this new poster arrives based around the Marcel Sarmiento helmed wrap-around segment entitled 'Vicious Circles'. It comes courtesy of Magnet Releasing who'll be unleashing the third installment in the franchise into Us theatres this Friday. Filmmakers Todd Lincoln ('The Apparition'), Nacho Vigalondo ('Open Windows'), Gregg Bishop ('The Other Side'), Justin Benson and Aaron Moorhead ('Resolution') are also on board with their efforts. »
Headcleaner: VHS Series Gets Third Installment Blues
Perhaps after this third installment this franchise can enter the same void for the format which it’s named, as this is by far the least thematically inventive anthology of the trio. A quintet of five up and coming horror directors spackle this latest omnibus, once loosely geared to tickle our nostalgic fancy for the retired home video format from an era where gritty and scary films used to be more prolific.
Interweaving between its three sordid tales is the wraparound segment, “Vicious Circles,” from director Marcel Sarmiento, better known as the helmer of “D is for Dog” from the first The ABCs of Death film and his feature, Deadgirl. Beginning with a tense teenage couple, whereby the young male filmmaker stumbles upon a high speed Los Angeles chase and uses the opportunity to snag some YouTube footage that will make him famous, »
- Nicholas Bell
When people watch V/H/S: Viral, there will undoubtably be some who question the short runtime, while there will be others scoffing at the Go-Pro cameras, iPhone videos, and other technologically advanced recorders that have nothing to do with VHS tapes, which is understandable. To provide a little backstory, Todd Lincoln (The Apparition) was supposed to have a segment in this third installment, but either the short was subsequently cut after a few test screenings or he submitted an unfinished product – whoever you choose to listen to – which doesn’t surprise me in the lest after sitting through The Apparition. And to the haters who will never silence their gripes about authenticity and VHS quality, throwing their hands in the air at the first signs of crisp quality and crystal-clear focusing? Eh, we’ll never stop the haters from hating, and it’s their loss because V/H/S: »
- Matt Donato
Winning Best Director and Best Film at the 2014 ScreamFest Film Festival, Alejandro Hidalgo’s directorial debut The House at the End of Time will continue to enjoy the distinction of being one of the only Venezuelan horror films currently in existence. Mixing haunted house spooks with sci-fi concepts, Hidalgo’s feature is reminiscent of Nacho Vigalondo’s Timecrimes, but rather than attempting to logically engage with its time warping tactics, the film largely ignores these for supernatural discourse. A bit too rough around the edges in too many regards to attract attention beyond being something of a novelty, Hidalgo shows promise with the level of ambience and laudable look of the film.
Awakening in a daze, a deep gash in her face, Dulce (Roddy Rodriguez) finds her husband murdered and her elder son disappear before her very eyes into the bowels of her home. Accused of the crime, Dulce is sentenced to the maximum penalty. »
- Nicholas Bell
Some things don’t change. Graced by Viggo Mortensen and Paul Schrader, the International Competition jury prexy, Argentina’s 29th Mar del Plata Festival will bow Nov. 22 with Abel Ferrara’s “Pasolini.”
Its choice as Mar del Plata’s opening night movie is pretty well a declaration of principles that Latin America’s only “A” grade festival will go on through thick and thin – and, with only 29 editions in 60 years, there’s been much of both – to forefront latest titles from and here even about heavyweight auteurs.
That is not necessary If Variety’s reviewers are to go by, 2014 in general has caught some of the great auteurs in world cinema at the top of their game. If Cannes Festival sales had any narrative this year, it was how fast its big art film winners sold – think “Leviathan,” “Winter Sleep” – compared to bigger budget U.S. indie projects.
Adding cache »
- John Hopewell
Hitting like a juggernaut of supernatural horror, the Venezuelan Alejandro Hidalgo’s beautiful and haunting film, The House At The End Of Time (or La Casa Del Fin Los Tiempos) falls to the ground and begins to take off from the very first frame, putting viewers right in the middle of one hell of an opening.Opening right in the middle of a man having been stabbed to death, and Dulce, a young mother wondering who stabbed her husband and where he son is, the film is absolutely perfect when it comes to putting a whole lotta questions on the table and answering them all in 101 amazing minutes. When Dulce finds her son after discovering her husband dead, an unseen force pulls him into the darkness and Dulce is soon arrested for double murder and imprisoned for 30 years. Opening a film with as much as it does might serve as »
- Jerry Smith
A disgusting tale that imagines its tiny side dish of commentary on toxic fandom and male entitlement makes up for it being a perfect example of such. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
It’s like Rear Window, except instead of taking place out the window of an apartment overlooking a busy residential courtyard, it’s all unfolding in the multiple windows open on a laptop. And instead of a journalist and war correspondent laid up with a broken leg, Elijah Wood (Grand Piano) is a nerdy fanboy obsessed with actress Jill Goddard (Sasha Grey); he runs a fan site called JillGoddardCaught.com (he probably doesn’t see anything creepy in that). But it’s not like Wood’s Nick Chambers is stuck in one little room — that could have been potentially interesting; he could »
- MaryAnn Johanson
Peeping Tom: Vigalondo’s Virtual Voyeurism Thriller Too Wrapped Up in Tech
In the barest possible sense, Nacho Vigalondo’s latest film, Open Windows, can perhaps be described as Hitchcockian due to the fact that it concerns a voyeuristic male utilizing an opportunity to secretly observe a beautiful female a la a modernized Rear Window sort of set-up. Whether homage or coincidence, parallels with Hitchcock die out past Vigalondo’s log line and instead the film becomes yet another vehicle for an Elijah Wood protagonist to be manipulated in highly unlikely and increasingly silly fashion. Though Vigalondo has a rather inspired visual template for the unfolding of the narrative, much like the earlier release of technologically inspired Dutch film App, it’s a design that will only serve to hopelessly date the film which relays its tale via webcams in rudimentary form, making it also reminiscent of that multiple simultaneous perspective Mike Figgis film, »
- Nicholas Bell
Early on in Open Windows, Spanish filmmaker Nacho Vigalondo invites easy comparisons to Alfred Hitchcock's Rear Window, but then, pardon the expression, he throws them out the window. What begins as an homage quickly morphs into a thriller with its own unique, wildly enjoyable, and altogether satisfying identity. The creatures who inhabit this cheeky cyber-sphere are the usual suspects found in techno-thrillers. Nick Chambers (Elijah Wood) is the perfect patsy, an innocent citizen caught up in events that spiral out of control in a heartbeat. Jill Goddard (Sasha Grey) is the 21st-century version of Grace Kelley, a glamorous actress with an exploitable personal life. She is also easily-positioned as Nick's imaginary girlfriend, though he would never dare to say that out loud. He worships her...
[Read the whole post on twitchfilm.com...]
This is a reprint of our review from the 2014 Fantasia Film Festival. When he burst onto the scene in 2007 with his Spanish debut feature “Timecrimes,” film fans saw a potential new high profile name from a nation with a knack for churning out directors who really know how to pack in the thrills. But Nacho Vigalondo’s followup “Extraterrestrial” in 2011 arrived with more of a whimper than a bang. This year, the hope is that his English language debut puts him back in gear. After a six-year absence from the festival, Vigalondo is back at the Fantasia Film Festival, and if he has his way, you'll never look at your computer screen the same way again, especially if there’s one too many windows open at the same time. To help him get an even bigger international boost, he’s got the support of an ex-porn star and an ex-hobbit. »
- Nikola Grozdanovic
The new thriller from Spanish writer-director Nacho Vigalondo (Timecrimes) is visually dazzling, but the story starts off silly and ends up a confusing, maddening mess. Open Windows is seen entirely through the lens of online cameras, beginning with the one on the laptop of Nick Chambers (Elijah Wood), a blogger in an Austin hotel room preparing to meet his idol, the sexy sci-fi queen Jill Goddard (Sasha Grey). Suddenly, a man calling himself Chord (Neil Maskell) begins speaking to Nick through that computer — and opening pop-up screens that give Nick access to Jill’s private life, including her bedroom. Believing that he’s helping Jill, Nick is manipulated into committing a crime, and ends up running from the police, and from Chord, who »
"Open Windows" is among the very first feature-length films to unfold entirely on a computer screen. Directed by Spanish "Timecrimes" helmer Nacho Vigalondo, the result, a tech-savvy thriller full of genre movie pleasures, yields one nerve ratcheting set piece after another without a single obvious cut. Elijah Wood plays a genre movie buff who, rejected by the leading actress (appropriately played by Sasha Grey) who promised him a private post-film festival meet-and-greet, is inveigled by an anonymous stranger into performing a series of insane, life-threatening tasks -- all under the dubious agreement of meeting his dream girl. This tightly wrought high-concept scarer popped up at South by Southwest in the Spring, made its way to Canada's Fantasia Fest and eventually landed at Fantastic Fest, where I caught "Open Windows" and sat down with director Vigalondo and star Wood, whose own company SpectreVision is busily unleashing a slate of »
- Ryan Lattanzio
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