Let’s catch up: Behold a list of (mostly) fantastic films I have watched recently. (Embarrassed to admit that many of these were a first time watch– SO late to the party.) Regardless– even though each and every one of these deserves an individual, in-depth, analytical review– for the sake of time, I’ll sound off some quick thoughts about each film, and why you should catch up with these jewels (or yell at me because I hadn’t seen many of these until recently.)
The original post can be found here.
From Alice Cooper’s and Black Sabbath’s occult-inspired lyrics and gory theatrics, to Rob Zombie’s foray into directing his own features, to films like Trick or Treat, The Devil’s Candy, and Deathgasm— heavy metal and the horror genre have always gone hand-in-hand. Both genres are known for (and celebrated) for pushing their material to the limits, often relying on violence and shock value for art. But how far is too far? With the latest heavy metal-horror film pairing, Eric Pennycoff’s SADISTIC INTENTIONS, we have a great time finding out just how far one jaded metal musician will go to achieve levels of creativity and inspiration for his music.
Coming off 2018– a highly sociopolitical year that contained multiple depictions of witches, femininity, and black magic within horror through the likes of Suspiria, Pyewacket, and Chilling Adventures of Sabrina– Lukas Feigelfeld’s debut feature film Hagazussa: A Heathen’s Curse, which has been circulating the festivals since fall 2017, will finally be available to audiences this month. And although a slightly different take on witches than we’ve been seeing as of late, Hagazussa is arguably the most subtly gut-wrenching.
I had the opportunity to speak with Hagazussa: A Heathen’s Curse writer/director Lukas Feigelfeld about his highly anticipated feature film debut, his transition into filmmaking, his visual style, Pagan folklore, comparisons to The Witch, “elevated” horror, and his sympathy for female witches. (You can read my review for Hagazussa here.)
The film’s synopsis, according to its Doppelgänger Releasing site page:
In a remote Alpine village in the 15th century, the orphan Albrun grows up to become a marked woman. The scapegoat of ancient superstitions and monstrous misogyny, this self-styled witch begins to assert her otherworldly birthright. The plague she conjures makes human cruelty look pathetic and small by comparison. This atmospheric debut feature from Lukas Feigelfeld is a haunting Pagan death trip and a startling vision of psychedelic horror.
Bloody Disgusting and Doppelgänger Releasing presents Hagazussa: A Heathen’s Curse, opening in limited theaters on April 19, and will be available on VOD, DVD, and Blu-ray on April 23.
Read on for our conversation. (Special thanks to Bloody Disgusting and Margarita Cortes.)
“Break the laws of nature– you’ll pay for it.”
In Claire Denis’s newest arthouse film High Life, Robert Pattinson’s Monte whispers this statement to himself, since only he and his baby girl remain on a coasting space ship, with no other (living) crew members.
Sure, the study of humanity– in the broadest spectrum– has been depicted to death within films that take place in outer space. Isolation, loneliness, violence, and goal-oriented manipulation are common themes we’ve witnessed in space films before, and High Life is no different. But I guarantee that you have never seen a space film quite like this one.
Guys, it’s happening. It’s happening!
I’m finally getting my Sleepaway Camp season of American Horror Story that I’ve been dreaming about for years.
When author Cooper S. Beckett approached me about his upcoming horror novel, Osgood as Gone: The Spectral Inspector, he described it to me as “cosmic horror, with pulpy noir undertones.” As his first major entry into the horror genre (and the first of a possible series?) Osgood as Gone is a dread-inducing, addicting mystery for the progressive, contemporary, horror-loving audience, that I completed in one day. Read on to learn why.
If you read my 30th Anniversary Pet Sematary review, you know that Mary Lambert’s 1989 film adaption of Stephen King’s beloved novel is quite dear to me. One of the first horror movie experiences I ever had, Pet Sematary unnerved and gutted me for years with its tragic portrayal of a family that just could not accept its fate. Now 30 years later, Starry Eyes directors Kevin Kolsch and Dennis Widmyer have placed their own spin on this classic horror tale, and I’m feeling less than whelmed by it.
The original published post can be found here.
Like many horror fans, Mary Lambert’s 1989 adaptation of Stephen King’s PET SEMATARY is particularly special to me, shaping my love for horror for decades to come.
At the ripe, impressionable age of 5 years old, hiding behind a doorway when none of the adults were looking, I took a peek at the TV screen during a family vacation. I saw the image of a bloodied-head, ghastly, grey-skinned corpse of a blond man lurking in the corner of a couple’s bedroom, and I was absolutely petrified— running back into the bedroom I was staying in, hoping that I wouldn’t get in trouble for taking a peek at something I knew I wasn’t supposed to be watching. Sure, most people typically cite Zelda as the scariest aspect of this cult classic…but for me, at 5 years old, and without any context of the story— the visual imagery of Victor Pascow actually haunted my dreams for subsequent years after.