Lining up a week of viewing works from auteurs in 1987, I originally planned to catch Agnes Varda's Le petit amour,but found that the uploader had wrongly listed under '87,instead of the year it came out:1988. During this time, I got Indicator's new epic box set of titles by auteur Norman J. Warren,and finding the last film was from '87, got ready to open the set up.
View on the film:
Ending their set on a high note, Indicator fill the disc with detailed extras, including new a commentary with Warren & BFI film historian Jo Botting, (bet Warren never imagined that the BFI would hold a "season" screening his films!) and in dealing with inconsistent film stock, sand down the roughest edges in their great 2K transfer, whilst keeping the soundtrack clean.
Facing tight limits placed on by producer Maxine Julius, (from no time being given to write more than one draft, turning down any actors who did not live nearby,and keeping a close count on how many reels of film were used)co-writer/(with Hayden and Frazer Pearce) directing auteur Norman J. Warren presents a fitting, late coda to the era of British "New Wave" Horror.Closely working with cinematographer John Shann and co-writer Frazer Pearce standing in as a set designer, who made sets out of any scraps he found, Warren plays a lively, ramshackle Punk Rock atmosphere, using the real empty hotel location for messy,use anything around shocks, turning the tables on the guests with possessed netting, ghosts caked in thick practical effects and a table which turns into a monster!
Even under the conditions placed, Warren still finds space for his distinctive style to shine, surrounding the group of pretty young things with surreal flashing neon lights,melting into rapid-fire long panning shots of the ghostly old guests giving the new arrivals a special welcome.Backed by a breezy soundtrack of 50's Rock and 80's synch, the writers tune into this sound with a screenplay that takes the body count of Slasher flicks, and wonderfully twist it into Warren's creepy, surreal supernatural time-warp, which keeps the guest held in a bloody new year.
View on the film:
Ending their set on a high note, Indicator fill the disc with detailed extras, including new a commentary with Warren & BFI film historian Jo Botting, (bet Warren never imagined that the BFI would hold a "season" screening his films!) and in dealing with inconsistent film stock, sand down the roughest edges in their great 2K transfer, whilst keeping the soundtrack clean.
Facing tight limits placed on by producer Maxine Julius, (from no time being given to write more than one draft, turning down any actors who did not live nearby,and keeping a close count on how many reels of film were used)co-writer/(with Hayden and Frazer Pearce) directing auteur Norman J. Warren presents a fitting, late coda to the era of British "New Wave" Horror.Closely working with cinematographer John Shann and co-writer Frazer Pearce standing in as a set designer, who made sets out of any scraps he found, Warren plays a lively, ramshackle Punk Rock atmosphere, using the real empty hotel location for messy,use anything around shocks, turning the tables on the guests with possessed netting, ghosts caked in thick practical effects and a table which turns into a monster!
Even under the conditions placed, Warren still finds space for his distinctive style to shine, surrounding the group of pretty young things with surreal flashing neon lights,melting into rapid-fire long panning shots of the ghostly old guests giving the new arrivals a special welcome.Backed by a breezy soundtrack of 50's Rock and 80's synch, the writers tune into this sound with a screenplay that takes the body count of Slasher flicks, and wonderfully twist it into Warren's creepy, surreal supernatural time-warp, which keeps the guest held in a bloody new year.