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Good morning film fiends! Feast your eyeballs on the triple whammy of trashy cinematic greatness I’ve served up below and  wile away those Monday morning blues on the grey drudgery of the morning commute. Rejoice I say and remember it’s just another five days till the weekend…

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This October, you’re not even safe on the Sofa!
From filmmaker Bernardo Rao, comes the most ridiculously entertaining horror jaunt of the year, KILLER SOFA on DVD and Digital from High Octane Pictures.
ELECTRIC DREAMS meets CHRISTINE in the heart-warmingly horrific chronicle of a killer Lazy Boy that falls in love with a girl – and the bloody carnage that follows as a result!
Francesca always attracted weirdos. When one of her stalkers is found dead, she looks for comfort from her best friend, Maxi. Meanwhile, Maxi’s grandfather, Jack, a disgraced Rabbi, comes across a reclining chair containing a Dybbuk inside. Jack and his voodoo sorceress partner try to find out where the recliner has been delivered while exploring Jack’s newfound gift for communicating with the other world. Meanwhile the reclining chair becomes enchanted by Francesca and starts committing crimes of passion.
Jed Brophy (THE HOBBIT), Sarah Munn, Stacy King, and Harley Neville star in a horror treat straight out of New Zealand, available October

 

The book opens on Krisstian de Lara’s spine-tingling Investigation 13 with Uncork’d Entertainment announcing a digital and DVD release for September 10.
Screen icon Meg Foster (LORDS OF SALEM, THE STEPFATHER 2, THEY LIVE) stars in director Krisstian de Lara’s mesmerizingly unnerving INVESTIGATION 13, premiering on digital and DVD this September from Uncork’d Entertainment.

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Incorporating traditional narrative story-telling, as well as numerous forms of pioneering technology, including found footage, hand-held cameras, surveillance cameras, and smart glasses, INVESTIGATION 13 is a new-age fright-fest chronicling the tale of a group of college science students investigating the urban legend of The Mole Man, an ex-patient said to still be residing within the walls of the Black Grove Asylum. When members of the group start missing, they soon learn that this myth is more real than they thought, making this 13th investigation one they will come to regret.
From Gorilla Studios, INVESTIGATION 13 also stars Stephanie Hernandez, Patrick Flanagan, Robert Paget, William Alexander, Giordan Diaz, Jesse Ramos and Peter Aratari as ‘The Mole Man’.
Clay Smith wrote the original screenplay, Rolando Vinas and de Lara wrote the most recent version.
INVESTIGATION 13 On VOD and DVD September 10 from Uncork’d Entertainment.

 

New artwork and a trailer have been released for ONCE UPON A TIME IN DEADWOOD, the new revenge western feature starring Robert Bronzi (recent hit DEATH KISS) and Michael Pare (STREETS OF FIRE) that comes out October 1st in the U.S.
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ONCE UPON A TIME IN DEADWOOD concerns a notorious gunslinger who is slipped a slow-acting poison by an heiress and told he has three days to track down and rescue her sister, who has been kidnapped by a band of hoodlums and holds the antidote.  Rene Perez directs from his screenplay, with Jeff Miller (THE TOYBOX) also contributing.
Bronzi plays the gunslinger.  Pare plays the main villain.  The cast is rounded out with Karin Brauns (PLAYING WITH DOLLS series), Lauren Compton (CLOWNTOWN), actor-model Chris Matteis, J.D. Angstadt, Jose Varela Garcia, Justin Hawkins, Tony Jackson, and Sierra Sherbundy.
The movie was filmed in California as well as in Western Leone, near Almeria, Spain, site of much of the filming of the famous Sergio Leone/Charles Bronson western ONCE UPON A TIME IN THE WEST.
Miller (who produced the recent DEATH KISS, which Perez directed, as well as the recent thriller  THE RUSSIAN BRIDE) is producing with Ronnie D. Lee (THE TOYBOX, OUIJA HOUSE) through their companies Millman Productions and Ron Lee Productions, respectively.
“If you liked DEATH KISS, you’ll love Bronzi again delivering his brand of justice,” says Miller.   “We filmed at recognizable locations where Bronson stood 50 years ago on the classic ONCE UPON A TIME IN THE WEST, and I can’t wait for fans to check out this latest chapter in our series of films with Bronzi.”
ONCE UPON A TIME IN DEADWOOD comes out in the U.S. on October 1st on digital and on November 19th on dvd.  Uncork’d Entertainment is handling distribution in North America and international sales.
For more information and updates, please visit the film’s Facebook page at www.facebook.com/onceuponatimeindeadwood

Festival News

With this year’s FrightFest now passed, there are two more annual UK film festivals for horror hounds and cult movie mavens to make a beeline for – Grimmfest 2019 in Manchester, and Mayhem in sunny old Nottingham town.

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Grimmfest 2020 has already announced it’s line up for this year’s event with one of the highlights been the announcement that the Soska Sisters will be attending showcasing their reimagining of the 70’s lo-fi Cronenberg classic RABID. Other flicks lined up include SHE NEVER DIED, director Audrey Cummings female centric follow up to the 2015 Henry Rollins vehicle HE NEVER DIED, Australian WWII set creature feature BLOOD VESSEL and outrageous splatter-satire, SATANIC PANIC, from first-time director, Chelsea Stardust and Fangoria Films and loads more. Horror icon and all round great lady Barbara Crampton heads the jury with 14 awards including BEST FEATURE FILM, BEST SHORT FILM, BEST DIRECTOR, BEST SFX and BEST CINEMATOGRAPHY, up for grabs with prizes that include over £120,000 worth of post – production support.
For more information on this great festival visit http://grimmfest.com/grimmupnorth/2019/09/grimmfest-2019-schedule/

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As well as continuing to make much hay out of its association with medieval armed robbery, Nottingham is also home to The Broadway cinema which hosts the annual Mayhem Film Festival every October. Billed as a showcase for the best features and short films in horror, sci-fi and cult cinema, through premieres, previews, and special events, this year sees HARDWARE director Richard Stanley’s HP Lovecraft adaptation COLOR OUT OF SPACE, nightmarish sci-fi VIVARIUM starring Jesse Eisenberg and Imogen Poots (CENTURION), haunted house thriller  GIRL ON THE THIRD FLOOR and twisted suspense thrillers DOOR LOCK and COME TO DADDY.
Two classocs dusted down and brought out of the archive are Nicolas Cage’s VAMPIRE’S KISS and the crinminally underrated late VHS era classic THE HIDDEN.
For more information on this joyful celebration of everything cinematically weird and horrific visit
http://www.mayhemfilmfestival.com/news/2019/09/mayhem-film-festival-reveals-full-line-up-for-2019-edition

On a final note –  to any aspiring independent filmmakers, podcasters or film related writers out there out there reading this, let me know if you’d like me to publicize and/or review your projects, The Stricken Land is always happy to promote new talent and ideas! And as ever, please feel free to share this post and any others on here that you like, far and wide.

Spread the Word!
Ian

 

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Now its thirteenth year, Mayhem is Nottingham’s premier (only?) film festival dedicated to horror, sci-fi and cult cinema. Held every October at the excellent Broadway cinema, this year I managed to squeeze in the time to get to four showings, only a couple of days after getting back from Grimmfest in Manchester. Apologies for the lateness of the review, it’s been a bit of a whirlwind October, so writing time has been on the lean side. Anyway, enough of my prattle, let’s launch into my thoughts on this years Mayhem offerings –

Nightmare Cinema (2018) US Dir: Joe Dante, Mick Garris, Alejandro Brugués, David Slade, Ryûhei Kitamura
Mickey Rourke, Richard Chamberlain, Elizabeth Reaser

Five strangers are each drawn in turn to a deserted old picture house where they are met by a mysterious projectionist (Rourke), who proceeds to play them each  a tale that delves into their deepest fears…
The horror anthology movie has a long and storied history beginning with the classic Ealing horror and granddaddy of creepy doll films, DEAD OF NIGHT (1945) through to the now classic Amicus productions of the 70’s like THE UNCANNY (1977) and DR TERROR’S HOUSE OF HORRORS (1974) up to THE TWILIGHT ZONE: THE MOVIE (1982) and the EC comics inspired CREEPSHOW (1982)  and TALES FROM THE CRYPT tv show (1989-1996.)
Joining this illustrious roll call comes NIGHTMARE CINEMA, and like all anthology flicks it lives and dies on the strength of each of its constituent segments.
The two stand outs in the movie are  Brugués’ The Thing in the Woods and Slade’s This Way to Egress. The former is closest in spirit to the aforementioned CREEPSHOW movies in style and content, smartly combining the mad killer in the woods slasher trope with an alien invasion plot all drenched in a good helping of cartoonish gore.
The latter is an adaptation of a Lawrence Connolly short story from his eponymous collection. Shot in stylish monochrome, this segment convincingly portrays the fraying, and increasingly warped and terrifying mental state of a young mother (played by Elizabeth Reaser, currently starring in Mike Flanagan’s superb THE HAUNTING OF HILL HOUSE in Netflix) while on a visit to her psychiatrist. Of all the segments Egress most deserves the epithet ‘nightmare’ and it’s worth giving the movie a watch for this segment alone.
The weakest has to be Ryûhei Kitamura’s demonic possession fable Mashit. Lacking a likeable central character is this segment’s biggest flaw, and the derivative story adds nothing to the possession sub genre. A missed opportunity.
Of the remaining two segments, Mirare, directed by Joe Dante and Dead by Mick Garris, the former  is classic Dante, a pitch black comedy about body confidence and plastic surgery featuring a demonic performance by Dr Kildare himself, Richard Chamberlain. While entertaining enough, it does feel rather lightweight and predictable in its denouement when compared to the other segments. Garris’ contribution feels meatier, being a study of maternal love taken to supernatural extremes, but lacks the pace of what has gone before, and thus feels rather laboured in places.


As I said earlier, the inherent weakness of the anthology format is inconsistency, a problem which bedevils NIGHTMARE CINEMA and prevents it being a wholly satisfactory watch. Mickey Rourke also feels underused as the menacing and otherworldly Projectionist. All in all though, NIGHTMARE CINEMA is great fun for horror fans a laudable effort and a, welcome addition to the anthology horror sub genre. Whether it is able to breathe new life into the format and act as catalyst for more films of this type to be produced remains to be seen.

Release details for Nightmare Cinema are tbc.

 


Puppet Master: The Littlest Reich (2018) US Dir: Sonny Laguna, Tommy Wiklund
Thomas Lennon, Jenny Pellicer, Barbara Crampton, Michael Pare, Udo Kier, Matthias Hues

Recently divorced comic book artist Edgar (Lennon) returns to live with his parents. Finding an old sinister looking puppet in his late brother’s room, he soon discovers it is one of the creations of Andre Toulon, a hideously disfigured Nazi war criminal responsible for an infamous series of murders in the town thirty years before. With an upcoming auction of memorabilia at a convention commemorating the Toulon murders, Edgar sees the chance to make some ready cash, but he reckons without a strange and evil force reanimating the puppets…
A gloriously retconned reimagining of the beloved 90’s straight to video classics from cult favourite Charles Band’s legendary Full Moon Pictures, PUPPET MASTER: THE LITTLEST REICH boasts a script by S. Craig Ziegler of BONE TOMAHAWK fame, so expect zero subtlety in this splendidly off the wall exercise in bad taste horror comedy. Complete with practical effects galore and competitive scenery chewing between genre legends Barbara Crampton, Michael Pare, Matthias Hues and the incomparable screen legend that is Udo Kier, PUPPET MASTER: THE LITTLEST REICH glories in its own sense of low budget schlock and insane level of cartoonish violence. Make no mistake,  this movie knows exactly what it is and what it wants to do, and it wants you to know it too.
Highlights include a ‘Baby Fuhrer’ puppet, a decapitated man urinating on his own head and a gory puppet ‘birth’. If there’s a taboo you can think of in these neo censorious times, then this movie wants to break it, usually with a buzz saw or a flamethrower.


Directors Wiklund and Laguna apparently secured the rights from Band on the condition that they made the film as a separate ‘reimagined’ entity divorced from the Band’s own established PUPPET MASTER series, thus opening up the possibility of a brand new series of Puppet Master films. Fingers crossed!

Release details for Puppet Master: The Littlest Reich are tbc.

 

Mandy (2018) US Dir: Panos Cosmatos
Nicolas Cage, Andrea Riseborough, Richard Brake, Linus Roache

Logger Red Miller (Cage) lives with his artist girlfriend Mandy Bloom (Rise borough) in 1983 California. Mandy encounters the members of a hippie cult called the Children of the New Dawn who proceed to kidnap and burn her alive right in front of a bound and incapacitated Red. Left for dead, an enraged and grief stricken Red sets out in single minded pursuit of the cult and its leader, the deranged Jeremiah Sand (Roache)…
So far, so run of the mill revenge fantasy, right?
Wrong.


It’s difficult to do justice to Panos Cosmatos’’ warped, psychedelic headfuck of a movie using mere words, this is a film you have to experience in order to get a true feel for its sheer batshit levels of craziness.. So if demonic quad riding bikers on a bad acid trip, chainsaw duels and Nicolas Cage going full Nicolas Cage against the son of Ken Barlow from Corrie are your thing (and why wouldn’t they be?) then check out this acid fuelled Lynchian nightmare fantasy. Plus, it’s got Bill Duke in it, which is always a reason to watch a film in my book. This one can legitimately be called an instant cult classic..

Mandy is available on Amazon Prime and also on DVD and Blu-ray.

 


The Devil’s Doorway (2018) Ire Dir: Aislinn Clarke
Lalor Roddy, Ciaran Flynn, Helena Bereen

In 1960 Ireland two priests, Father Thomas (Roddy) and Father John (Flynn) are sent to investigate claims of a weeping madonna statue in a Magdalene Laundry, a bleak workhouse-like institution for ‘fallen women’ run by the Catholic church. But as they investigate, they discover something much darker and evil has infected the home…
Nearly twenty years after the damp squib that was THE BLAIR WITCH PROJECT opened the floodgates on the found footage sub genre (although its true progenitor is Ruggero Deodato’s 1979 mondo splatter epic CANNIBAL HOLOCAUST), it finally feels like a film has come along that really makes good on the format’s promise. And that film is Irish filmmaker Aisleen Clarke’s THE DEVIL’S DOORWAY.
Put together on a shoestring budget, the film is cast iron proof that done well, horror does not need big name stars or expensive effects in order to both tell a compelling story and send an icy chill down the spines of audiences. Rather than ‘found footage’, the central conceit of the film is that what is being shown to audiences ‘has been suppressed by the Catholic Church for 58 years.’ Presented as historical record captured on 16mm film, the grainy and ethereal quality of the film stock adds a sense of authenticity, compounded by the story of the real life horror behind the Magdalene laundries in Ireland.Indeed, the idea for the film grew from Clarke’s interest in the laundries and the research she carried out for an unmade documentary on the institutions.
Another big catalyst in the films development was the discovery in 2017 of a mass grave of infants at the site of a former laundry in Tuam, County Galway. Clarke skilfully weaves these horrific aspects into the narrative while simultaneously avoiding any hint of exploitation or an anti religious hatchet job.


Instead the focus is on the inherently fallen nature of the human condition and the corruption that can infect and eat away at institutions. In one particularly memorable scene the Mother Superior (Helen Bereen in a standout performance), icily asks of Father Thomas if he is aware of ‘how many of these babies fathers, were Fathers?’
The film has all the tropes of the demonic possession/religious horror sub genres present and correct; the priest grappling with a crisis of faith, flying furniture, scary looking kids, officious nuns and levitating girls, but even if it doesn’t try to reinvent the wheel in this regard, then it does a more than efficient job of scaring the bejeezus out of the viewer (Father Thomas’ first encounter with the possessed Kathleen (Lauren Coe) is genuinely terrifying).
The film also wisely opts for subtlety rather than the Grand Guignol excess of THE EXORCIST and its many imitators, trading spectacle for offscreen hints at the evil present in the bleak surrounds of the home, both in its temporal and supernatural forms.
That being said, when it comes to staging shocks, Clarke proves admirably adept at ramping up the terror without the benefit of a huge effects budget, and the climax of the films last five minutes or so is pure nightmare fuel. Period set horror is one my favourites sub genres (no comforts of modern living here!), and  I doubt you’ll see a bleaker or more effective indie horror this year, nor one made all the more thought provoking for the horrific real life history that influenced it. Essential viewing.

The Devil’s Doorway is available on Amazon Prime and also on DVD and Blu-ray.

 

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This October, GRIMMFEST, Manchester’s International Festival of Fantastic Film celebrated its tenth anniversary with the biggest line-up of film premieres ever, along with audiences to match.

Now the Festival Jury’s votes are all in, and the audience ballots all tallied up, Grimmfest is proud to reveal this year’s award-winners:

Horror Channel Lifetime Achievement Award: BARBARA CRAMPTON (RE-ANIMATOR, YOU’RE NEXT)

Best Feature: TIGERS ARE NOT AFRAID

With Special mentions for ANNA AND THE APOCALYPSE and PIERCING

Best Director: JOHN MCPHAIL, for ANNA AND THE APOCALYPSE

With Special mentions for ISSA LÓPEZ (TIGERS ARE NOT AFRAID), and CLAYTON JACOBSON (BROTHERS’ NEST)

Best Screenplay: ISSA LÓPEZ for TIGERS ARE NOT AFRAID

With Special mentions for CLAYTON JACOBSON (BROTHERS’ NEST) and ANDY MITTON (THE WITCH IN THE WINDOW)

Best Score: ANNA AND THE APOCALYPSE

With Special mentions for PIERCING and SUMMER OF ’84

Best Actor: JUAN RAMÓN LÓPEZ for TIGERS ARE NOT AFRAID

With Special mention for AIDAN DEVINE (I’LL TAKE YOUR DEAD)

Best Actress: MIA WASIKOWSKA for PIERCING

With Special mentions for ELLA HUNT (ANNA AND THE APOCALYPSE) and ABIGAIL CRUTTENDEN (AWAIT FURTHER INSTRUCTIONS)

Best SFX: GIRLS WITH BALLS

With Special mentions for AWAIT FURTHER INSTRUCTIONS and FRAMED

Best Kill: GIRLS WITH BALLS

With Special mentions for PUPPET MASTER: THE LITTLEST REICH, OFFICE UPRISING and SATAN’S SLAVES

Best Scare: THE WITCH IN THE WINDOW

With Special mention for SATAN’S SLAVES

Best Short: WE SUMMONED A DEMON

With Special mentions for CONDUCTOR, DEAD COOL and THE OLD WOMAN WHO HID HER FEAR UNDER THE STAIRS

Finally, as voted for by Grimmfest 2018 attendees:

The Audience Award: TIGERS ARE NOT AFRAID

With Special mentions for SUMMER OF ’84, WITCH IN THE WINDOW, ANNA AND THE APOCALYPSE, and BROTHERS’ NEST

The Festival Jury Panel consisted of; Actress and Writer Lauren Ashley Carter, Film Sales Agent Caroline Couret-Delegue, Acquisitions Consultant, Festival Programmer and Producer Annick Mahnert, Writer, Actress and Producer Joanne Mitchell, Dread Central Journalist Anya Stanley and Rue Morgue Executive Editor Andrea Subissati. 

Grimmfest is even more delighted to announce that the winners of the BEST FILM and BEST DIRECTOR categories will each be awarded £40,000 worth of post-production services by Festival Award Sponsor BCL Finance Group, which can be used against a future film. 

TIGERS ARE NOT AFRAID is a Mexican magic realist movie written and directed by Issa López, the film has gained huge festival acclaim and awards around the World. It has been championed by Guillermo del Toro who will be producing Issa’s next film. Issa López said: “It’s an incredible honour to receive so many beautiful awards at a festival with such an incredible slate…Grimmfest is the very image of genre cinema’s credibility and substance, and it means a lot to the entire ‘Tigers’ team to be recognized by the festival’s jury and incredible audiences.” 

ANNA AND THE APOCALYPSE is a UK Christmas set Zombie musical directed by John McPhail. Since its debut at Fantastic fest last year, it has been making waves around the festival circuit, winning the audience award at the Edinburgh International film festival. It will be released theatrically in the UK and US in time for the festive season. John McPhail, Director of ANNA AND THE APOCALYPSE, said: “I am over the moon to receive this award, to know my peers enjoyed the film… I only started directing 6 years ago, and to receive Best Director award from a film festival like Grimmfest really puts the icing on the cake.” 

BCL have already agreed to partner with the festival next year, when they will again be offering big prizes for BEST FILM and BEST DIRECTOR categories and Grimmfest is also excited to announce the introduction of a new award category WORK IN PROGRESS, in association with BCL. The winning filmmaker will receive access to all-important post production services that will enable the completion of their film.

Michael Laundon, Managing Partner at BCL, adds “All of us at BCL are delighted to be prize sponsors for Grimmfest, as they enter their second decade. BCL was established with a quest to truly help independent movies to not only get made but to be finished. We hope to continue our support of Grimmfest in the years to come.” 

Finally, Grimmfest is thrilled to announce that Barbara Crampton has agreed to become head of the Festival Jury for Grimmfest 2019. 

Grimmfest 2019 will take place in early October in Manchester UK. Film submissions will open December 2018 via Film Freeway. More information about the festival can be found at www.grimmfest.com 

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Now in its tenth year, Grimmfest is the premier horror film festival in the north of England, and the organisers were kind enough to grant press passes to The Stricken Land so we could report back on the many delights the festival had to offer. Held at the Odeon Great Northern the centre of Manchester, we were only able to cover the Saturday and Sunday of the festival this year, and due to time constraints we weren’t able to make every single screening, but I’ve compiled all my reviews of the festival highlights for your reading pleasure below. Let’s dive in…

Piercing (2018) US Dir: Nicholas Pesce
Christopher Abbott, Mia Wasikowska, Laia Costa

A married father of one goes on what he tells his wife is a short business trip, instead booking a hotel room with the intention of hiring an escort girl and murdering her.
Grimmfest’s press for Nicholas Pesce’s twisted relationship drama calls it a ‘date movie for psychopaths,’ a succinct description that’s hard to top.
Based on controversial Japanese novelist’s Ryu Murakami’s eponymous 1994 novel, this is a complete oddball of a film that nevertheless engages you through the portrayals of its two neurotic leads even if it’s impossible to feel comfortable at any point during its running time. Quickly turning into a black as night comedy of errors as proceedings fail to go according to the meticulous plan laid out by Christopher Abbott’s emotionally constipated protagonist, Pesce’s film veers off into Lynchian style surrealism, mixing in Cronenbergian body horror, explorations of BDSM etiquette and urban alienation all set  against its retro-eighties style neverworld and a score plucked from Patrick Bateman’s record collection.
A brave, interesting and acutely observed character study with excellent performance from its two leads. No one for a first date though, unless you’re both psychopaths of course.

The Witch in the Window (2018) US Dir: Andy Mitton
Adam Draper, Charlie Tacker, Carol Stanzione

A familial drama wrapped in a haunted house flick, Andy Mitton’s debut plays out like a Spielbergian take on a CONJURING movie with a sliver of ice replacing the sugary sentimentality.
Divorced Dad Simon (Draper) buys an old farmhouse in rural Vermont as a renovation project, hoping to use it as some bonding time with his son Finn. After an ambiguous warning from their neighbour about the house’s dark past, father and son soon encounter Lydia, the malicious spirit of the previous owner. Unbowed, Adam determines to continue the project, but with every repair he makes, Lydia becomes stronger…


Less a full blown horror flick than an affecting observation of father son relationship dynamics, this is acutely well observed with two deft performances by Draper and Tacker.But make no mistake, when Mitton wants to inject unease and then outright terror into the lives of his protagonists then he is a true pro, particularly in the scene when Simon takes a phone call from Finn (you’ll have to watch the movie to get the full import of this sequence.)
The nature of Lydia and the history of the house is wisely kept ambiguous and in the background, allowing the relationship between Simon and Finn to come to form the emotional core of the film. A timely lesson that horror can be so much more than jump scares and splatter. THE WITCH IN THE WINDOW serves as a textbook example why budgetary constraints are no barrier when you have well crafted narrative combined with great performances and direction. One to put at the top of your watchlist.

 

Pledge (2018) US Dir: Daniel Robbins
Zachery Byrd, Aaron Dalla Villa, Zack Weiner, Erica Boozer

A group of nerdy misfit freshmen get invited to a secretive frat house for a wild sex, drugs and booze fuelled party, and the next morning are offered admittance if they will pledge to undergo a series of initiation rituals…
Riffing off the time honoured American campus culture that brought a slew of mostly forgettable frat house comedies to 80’s video stores, Pledge is a tense thriller and a razor sharp commentary on just how far human beings will go to gain acceptance from their peer group.


Director Robbins’ and writer/star Zack Weiner mix in conspiracy theories about real life fraternities like the Skull and Bones society and urban legends around arcane hazing rituals, and then crank everything up to insane levels of malice and cruelty.
The tight pacing and twisting storyline keeps us guessing as to what the outcome will be right up until the brutal denouement. This is a masterful blend of the stalk and slash and survival horror sub genres underpinned by great naturalistic performance by its cast of newcomers. University never looked less appealing.

 

Alive (2018) Can Dir: Rob Grant
Angus MacFadyen, Thomas Cocquerel, Camille Stopps

A ferociously original take on a source material that to reveal in this review would surely spoil the experience of Rob Grant’s viscera spattered thrill ride.
Two strangers, a man and woman  (Cocquerel and Stopps) awake in a derelict abandoned hospital, inhabited by a seemingly unbalanced doctor (a splendidly manic performance by MacFadyen). Nursed back to health after apparently suffering physical traumas, and with no memories of their pasts, the pair realise that the doctor intends that they should never leave…
What follows is essentially an ‘on the run’ escape movie, although we are never quite clear what or where the pair are escaping from (apart from MacFadyen’s psycho surgeon), or where an eventual sanctuary may be. This makes for a deliberately  disorienting experience for the audience and Grant’s assured direction, sense of quiet menace and frenetic pacing keep us guessing right up until the slam dunk denouement. File under essential viewing.

We also managed to cram in horror anthology NIGHTMARE CINEMA, gross out comedy horror throwback PUPPET MASTER: THE LITTLEST REICH and the period found footage chiller THE DEVIL’S DOORWAY while we were there, but I’ll be giving these a second viewing at Nottingham’s Mayhem Film Festival by the time this gets posted, so look out for my review of these in the coming week.

A big thanks to the Grimmfest organisers who were kind enough to grant us press passes for the festival, and to guest of honour and PUPPET MASTER: THE LITTLEST REICH star Barbara Crampton (gutted we missed the showing of REANIMATOR!) who was kind enough to chat and sign stuff. Her Q & A with the audience was a joy to behold, and her tales of working with legendary genre filmmaker Charles Band sent this writer in particular into paroxsms of fanboyness!  We love you Barbara, come back soon! The Stricken Land crew will definitely be making the trip north next year and plan to extend or coverage of this fine event. Keep an eye on the Grimmfest website people, and get this one in your for your calendars for 2019!

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Good morning film fiends, on this the first day of October, everything horror fan’s favourite month of the year! I’ve got a couple of new releases to impart to you this week, but first I’ll get in a quick plug for the Mayhem Film Festival that takes place at the Broadway cinema in Nottingham over  11th – 14th October.

Sponsored by Shudder and Last Exit to Nowhere, the festival covers horror, science fiction and cult cinema so is right up my street as you can probably well imagine. I’ve managed to book some time of from dad duties to go see new horror anthology NIGHTMARE CINEMA, bad taste splatter fest PUPPETMASTER: THE LITTLEST REICH, Nic Cage weirdfest MANDY and found footage period horror THE DEVIL’S DOORWAY. Needless to say I’ll be providing full reviews after my eyeballs have recovered.

November 1st sees the UK release (US 2nd October) of legendary cut filmmaker Don Coscarelli’s memoir True Indie: Life and Death in Filmmaking. The director of classics such as PHANTASM, THE BEASTMASTER and BUBBA HO-TEP takes us on a wild ride through his four decades of independent filmmaking in the Hollywood sharkpool in what promises to be a highly entertaining read for all cult movie fans and indeed, for any interested in the art and process of filmmaking in general. If you can’t wait till next month the audiobook version read by Mr Coscarelli himself releases through Audible on 9th October. Here’s the link to buy it through Amazon in the UK and for US readers here.

Now on to this week’s new flicks –

“In the classic tradition of the 1980’s slasher film” (Horror News), Wild Eye Releasing deliver Blessed are the Children, a Reagan-era slasher throwback that’s part HALLOWEEN, part BLACK CHRISTMAS, and all frights, premiering on DVD and VOD October 23.

Something sinister is following Traci and her friends – who are behind the masks!?
Traci Patterson (Kaley Ball), an adrift 20-something who’s still reeling from the death of her father and her breakup with an abusive fiancé (Jordan Boyd), discovers that she’s pregnant. With the help of her friends, Erin and Mandy (Arian Thigpen, Keni Bounds), she decides to terminate her pregnancy, but quickly after leaving the clinic, she begins seeing and hearing things – shapes in the corner of her eye, strange noises in the middle of the night, and ghoulish figures stalking her every move. Is it guilt or are Traci and her friends in grave danger?
Kaley Ball, Keni Bounds, and Arian Thigpen star in a Chris Moore (PERVERSION, TRIGGERED) film, premiering on DVD and VOD this October.

 

On her 60th birthday, Mary (Rosemary Hochschild) finds her past coming back to haunt her, as a 25-year-old debt means the mob is ready to collect with interest, their sights set on the strip club she has run all her life. There’s only one thing she can do: Mount her defenses and stand her ground in a spiral of violence and revenge that will leave no one in her life untouched…

Dark Star Pictures has acquired North American rights to Orson Oblowitz’s Tarantino-esque crime-drama THE QUEEN OF HOLLYWOOD BLVD.
Dark Star has set an October theatrical (LA) and VOD release for the film, a dark L.A-set noir exploring the one-day odyssey of a woman’s reckoning. Veteran actress Rosemary Hochschild (SUPERGIRL, DESPERATELY SEEKING SUSAN) plays the lead.
The film, starring Rothschild as a strip club owner who finds herself over her head when a twenty-five-year-old debt to the mob comes back to haunt her, premiered at the Boston Underground Film Festival earlier this year.


“Director Orson Oblowitz’s feature debut is a wild ride through the underbelly of Los Angeles, blending genres in a shocking fashion and firmly establishing himself as a new promising talent” said Dark Star Pictures President Michael Repsch. “Playing like a love child of John Waters and Quentin Tarantino, THE QUEEN OF HOLLYWOOD BLVD. will resonate with audiences for years to come.”
“We are really excited to have found a home at Dark Star Pictures for THE QUEEN OF HOLLYWOOD BLVD.”, says writer/director Orson Oblowitz. “Michael Repsch is a true lover of film, devoted to getting great cinema to the masses and we knew with our movie it needed a distributor that was going to nurture it, as well as help set it apart in a saturated market place, Dark Star is that company.”
Playing over the film’s entrancing visuals of L.A is an electric soundtrack featuring such artists as Jimmy Lee, Lee Williams & The Cymbals, The Lovettes and Arlando King & The Earthquakes.
The film, also starring Ana Mulvoy Ten, Roger Guenveur Smith and the late Michael Parks (‘’Kill Bill’’, ‘’Red State’’) in his final film appearance, has its L.A premiere this week at Beyond Fest.
THE QUEEN OF HOLLYWOOD BLVD theatrical release begins October 12 in Los Angeles; the film will be available On Demand October 16.

On a final note –  to any aspiring independent filmmakers, podcasters or film related writers out there out there reading this, let me know if you’d like me to publicize and/or review your projects, The Stricken Land is always happy to promote new talent and ideas! And as ever, please feel free to share this post and any others on here that you like, far and wide.

Spread the Word!
Ian

 

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Good morning and fine fettle to you, my celluloid loving brethren! The 25th day of this September sees the unleashing of Brit backwoods horror ESCAPE FROM CANNIBAL FARM (CANNIBAL FARM in the US) on to the home viewing market. This is a title I’ve been anticipating for a while now, ever since it came to my attention from following its leading lady Kate Davies Speak on Twitter. Produced by writer/director Charlie Steeds’ Dark Temple Motion Pictures, the film promises to be an all out retro styled splatter festival that looks a cut above the relentless slew of slick but soulless jump scare horror infesting Netflix, and I’m more than intrigued to see the TEXAS CHAINSAW MASSACRE style mayhem transplanted to the bucolic English shires. From the look of the trailer, Mr Steeds won’t be getting a gig scripting The Archers any time soon, though I’m sure his input might liven Radio 4 up a bit.
Dark Temple have a boatload of fun looking horror flicks slated for release in the near future, including the wonderful looking THE BARGE PEOPLE, backwoods survival horror WINTERSKIN and the gothic looking THE HOUSE OF VIOLENT DESIRE. Wonderful titles alone!
Staying on these shores, I’m currently writing up my long delayed review of DOGGED, writer/director Richard Rowntree’s folk horror released a couple of months back. Richard’s Ash Mountain Films outfit is currently filming their second feature NEFARIOUS, an urban crime horror flick that promises to continue the bleak and contemporary style established in their debut feature, and of which this little site is a proud backer through Kickstarter!
Dark Temple and  Ash Mountain Films are both exciting new ventures flying the flag for British horror and I strongly recommend you check them out.
You can follow them on Facebook, Twitter, where they tweet as @DarkTempleFilms and @AshMountainFilm respectively, and also on Instagram where they are darktemplemotionpictures and richard.rowntree

Scream Magazine
I’ve finally bitten the bullet and taken out a subscription to Scream Magazine, something I’ve been promising myself to do since I first came across it in early summer. The mag has just reached its 50th issue, so it seemed an appropriate time to jump on.
The mag’s format is a mixture of features on current releases and retrospectives with the usual review columns and regulars  (VHS Ate My Brain, and the Behind The Screams gossip feature being my favourites.)
The fiftieth issue features a great and now poignant interview with the late BLACK CHRISTMAS and THE AMITYVILLE HORROR star Margot Kidder (you’ll always be my Lois Lane, Margot.) Jamie Lee Curtis and David Gordon Green talk the new HALLOWEEN flick coming next month from Blumhouse, along with part one of a look back at the forty year history of the franchise. Other highlights include retrospectives on ROSEMARY’S BABY and Lucio Fulci’s classic undead exploitation epic ZOMBIE FLESHEATERS, and an interview with Corin Hardy, director of the upcoming THE NUN, the next instalment in the ever widening THE CONJURING universe.
However, my absolute stand out favourite feature in the issue is Paperbacks from Hell, an interview with author Grady Hendrix about his eponymous new book detailing the schlocky paperback shockers that festooned supermarket bookshelves back in the 80’s. Reading through the article brought back memories of thumbing through these titles in Morrisons (a northern english supermarket chain, for those not in the know). Although they were never going to win any literary prizes, the sheer amount of imagination featured in the lurid illustrations that adorned their covers was enough to sear them into the collective memories of any impressionable youth that encountered them. Something they had in common with a lot of the titles down the local video rental shop! Guy N Smith anyone?
Published on a bi-monthly basis, the mag is a steal at twenty uid for a years sub and I’d highly recommend it to film geeks as well as gorehounds and VHS era relics like myself! Check out how to subscribe here.

Grimmfest 2018
I’m pleased to announce that The Stricken Land will be attending this year’s Grimmfest festival held over the 4-7th October 2018 at the Odeon Manchester Great Northern. This is our first time at an event where we have bona fide press accreditation, so rest assured we’ll be scouring the event for all the upcoming news and releases in horror and cult cinema, and posting a full report along with select reviews of the festival’s cinematic offerings. Keep your eyes peeled for on the spot updates via our Facebook page and on Twitter and Instagram.
You can pick up tickets to the event here. Hope to see you there!

Mayhem Horror Festival 2018
While we are on the subject of Festivals, Nottingham’s Broadway cinema is once again hosting the Mayhem Film Festival from 14th to 18th October. This year’s line up includes such delights as the bonkers looking Nicholas Cage led MANDY, dystopian sci-fi PROSPECT, THE WITCH IN THE WINDOW, PUPPET MASTER: THE LITTLEST REICH, screening of classics such as Lamberto Bava’s DEMONS and Romero’s original NIGHT OF THE LIVING DEAD along with a whole boatload more horror, sci-fi and cult movies from around the globe. Mayhem is always a great little festival in which to discover new films and the talent behind them that will likely bypass the multiplexes (for the time being anyway!)
To check out the full line up and to bag yourself early bird tickets to screenings, check out their page here.

On a final note –  to any aspiring independent filmmakers, podcasters or film related writers out there out there reading this, let me know if you’d like me to publicize and/or review your projects, The Stricken Land is always happy to promote new talent and ideas! And as ever, please feel free to share this post and any others on here that you like, far and wide.

Spread the Word!
Ian

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GRIMMFEST 10TH ANNIVERSARY LINE-UP ANNOUNCED

“I WANT MY CAKE!”
This year, GRIMMFEST, Manchester’s Festival of Horror, Cult and Fantastic Film, celebrates its 10th anniversary. Get ready for decimation, with the darkest, deadliest line-up yet of wild, weird, witty, thrilling, chilling, blood-spilling movies, every one of them a premiere or cult classic of one kind or another, many with cast and crew in attendance.

But Grimmfest will also be looking back, a little nervously over its shoulder, perhaps, at a decade spent delivering top-quality cinematic carnage to the movie-goers of Manchester, and beyond. Beginning with a return to its bloodsoaked origins, and an anticipation of the future, in a special Festival Preview show on Monday 1st October…

IT’S (STILL) GRIMM UP NORTH!
Originally, the festival was known as “Grimm Up North”, in sardonic acknowledgement of its location, and as a declaration of support for filmmaking in the region. So what could be more appropriate as an anniversary celebration than a special North-West programme, featuring three new shorts and a retrospective screening of the film without which the festival would not even exist… Festival Directors Simeon Halligan and Rachel Richardson-Jones’s debut feature, the dark psychological horror fable, SPLINTERED, fully remastered, and in a razor-sharp new cut. From Once Upon A Time… to …Happily Ever After? Only time will tell. For now though, a chance to reacquaint yourselves with this truly Grimm Fairy Tale.

This celebration of North-West talent will also feature a special family-friendly screening of CBBC and DHX’s horror anthology CREEPED OUT. Co-creators and showrunners Bede Blake and Robert Butler will present their favourite UK and favourite Canadian episode from Season One and, if we are lucky, share an insight into what’s in store for the new series.

SOMETIMES THEY COME BACK…
Which might be why this year’s classic screening, opening the main body of the festival, is RE-ANIMATOR, presented and introduced by Grimmfest’s guest of honour Barbara Crampton, who will also be in attendance for 2 brand new films making their regional debuts: PUPPET MASTER: THE LITTLEST REICH and DEAD NIGHT. Barbara will also be receiving the first Grimmfest Lifetime Achievement Award, sponsored by Horror Channel.

The Grimmfest Team are not ones to indulge too much in nostalgia, however. The past is dead and gone. Except when it refuses to die, of course. Or returns to haunt you. In an attempt to lay to rest any unquiet spirits, therefore, the festival is delighted to be welcoming back many of the fearsome filmmakers who have been such a major part of its bloody history over the past decade. Rob Grant (FAKE BLOOD, MON AMI) presents the UK Premiere of the truly outrageous ALIVE. Johnny Kevorkian whose THE DISAPPEARED screened at the very first festival, returns with the Northern Premiere of the claustrophobic sci-fi horror AWAIT FURTHER INSTRUCTIONS. There’s the UK Premiere of Gothic noir I’LL TAKE YOUR DEAD from Chad Archibald (ANTISOCIAL) and the Northern Premiere of SUMMER OF ’84, a bitter little antidote to all of the current nostalgia for the Eighties, from the talented trio behind Grimmfest favourite TURBO KID.

In keeping with the theme of welcome returns, the festival also presents a couple of startling cinematic reboots – or revenants if you will. Indonesian maestro Joko Anwar (MODUS ANOMALI) makes a Grimmfest comeback, with his unsettling reimagining of obscure cult oddity SATAN’S SLAVES, already a huge box office smash all over South East Asia, and now receiving its UK Premiere; while Scandinavian shock-auteurs Sonny Laguna and Tommy Wiklund (WITHER) resurrect Charles Band’s cult classic series for a new generation with the mischievous PUPPET MASTER: THE LITTLEST REICH, a Northern Premiere (and Barbara Crampton’s second film of the festival), and also treat festival goers to the World Premiere of their latest short, MYSTERY BOX.

Alejandro Brugués, director of another Grimmfest favourite, the riotous JUAN OF THE DEAD, joins fellow masters of the macabre, Joe Dante, Mick Garris, Ryûhei Kitamura, and David Slade for the much-anticipated all-star horror anthology NIGHTMARE CINEMA, another UK Premiere, and Lora Burke, powerhouse star of POOR AGNES returns in the Greater Manchester Premiere of Justin McConnell’s emotive body-horror love story LIFECHANGER.

NEW FACES IN HELL…
But just in case you thought this year’s Grimmfest was simply one big reunion party, there are also some Grimmfest first timers…

The festival is delighted to host the European premieres of Daniel Robbins’ nail-biting PLEDGE and Olivier Afonso’s outrageous GIRLS WITH BALLS. Also screening are UK Premieres of the hilariously twisted BROTHERS’ NEST from Australia’s Clayton Jacobson, the gruesome FRAMED from Spain’s Marc Martínez Jordán and Lin Oeding’s savagely satirical OFFICE UPRISING.

The line-up also features a raft of regional Premieres, including the Northern Premieres of Jon Knautz’s unsettling THE CLEANING LADY, Aislinn Clarke’s chilling THE DEVIL’S DOORWAY, Andy Mitton’s eerie THE WITCH IN THE WINDOW, and Issa López’s magical TIGERS ARE NOT AFRAID. Also screening are the Greater Manchester Premieres of Nicolas Pesce’s perverse and discomforting anti-Rom-Com, PIERCING and Bradford Baruh’s demented DEAD NIGHT, again starring Grimmfest’s very special guest Barbara Crampton.

All this plus a brutal brace of short film programmes, which sees a focus on female creators and the return to Grimmfest of Faye Jackson, director of STRIGOI, another classic film from the festival’s opening year, with her new short THE WOMAN WHO HID HER FEAR UNDER THE STAIRS. 

And to close… Christmas comes early, with the Greater Manchester Premiere of zombie high school musical extravaganza, ANNA AND THE APOCALYPSE, guaranteed to send you dancing off into the night…

All selected films are in the running for the previously announced GRIMMFEST AWARDS. Grimmfest recently revealed that it is partnering with film financing group BCL to offer £40,000s worth of post-production services to each of the winners of the BEST FILM and BEST DIRECTOR awards categories.

Grimmfest’s 10th edition will take place from the 4th to the 7th October at the ODEON Manchester Great Northern, UK, with a Preview Night taking place on 1st October at the Plaza Cinema, Stockport.

The full line-up can be accessed via grimmfest.com, where full festival passes, day passes and individual film tickets can also be purchased.

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GENRE FILM FESTIVAL GRIMMFEST REVEALS FIRST LOOK AT 2018 PROGRAMME AND AWARDS PRIZES

Manchester-based genre film festival GRIMMFEST is delighted to announce the first 3 of many UK premieres lined up for this year’s 10th anniversary edition. The festival can also now reveal details of some very special awards prizes on offer for films in the official selection. 

Simeon Halligan, festival director and founder of Grimmfest, says “2018 is a very special year for us and to celebrate this we are proud to welcome back a number of talented filmmakers and actors who’ve shared their work with us over the past decade. We’re also pleased to introduce plenty of new talent to the festival, who we hope to see more work from in the years to come!”

The full festival programme is due to be unleashed on Monday 3rd September 2018, but Grimmfest is whetting audiences’ appetites with an early sneak preview of 3 of this year’s titles.

Grimmfest is thrilled to be hosting the UK Premiere of the much-anticipated NIGHTMARE CINEMA, a weird, wild and most welcome throwback to the classic EC-comics-inspired horror anthologies of the 1970s, from genre giants Alejandro Brugués, Joe Dante, Mick Garris, Ryûhei Kitamura and David Slade. Fresh from its world premiere at Fantasia International Film Festival, the film stars Mickey Rourke, Elizabeth Reaser, Richard Chamberlain and Annabeth Gish.

Mickey Rourke stars in ‘Wrap Around’, one of the segments featured in brand new anthology horror NIGHTMARE CINEMA
 ‘Mashit’, another of the segments featured in NIGHTMARE CINEMA

 

 

 

 

 

 

 

 

 

 

Director Rob Grant (FAKE BLOOD, MON AMI) will be making a welcome return to the festival with the UK Premiere of Canadian shocker ALIVE. Tense, creepy, darkly funny, and quite spectacularly gory in places, with a truly baroque performance from Angus Macfadyen (BRAVEHEART, SAW III/IV), this offbeat gem cements Rob Grant’s reputation of one of genre cinema’s true mavericks of morbid mischief.

Tom Camille stars in Canadian horror ALIVE directed by Rob Grant

Finally, Grimmfest is proud to announce the UK Premiere of the hilariously twisted Australian comedy BROTHERS’ NEST, courtesy of Signature Entertainment. Written and directed by Clayton Jacobson, who also stars in the film along with his brother Shane, this SXSW hit is an emotionally-charged pitch-black farce of squabbling siblings, filial ingratitude, thwarted ambition, broken dreams and brutal murder.

Clayton and Shane Jacobson star in black comedy BROTHER’S NEST

These and all other selected films are in the running for the previously announced GRIMMFEST AWARDS, which will be judged by a fantastic all-female jury consisting of some of the brightest lights in contemporary Genre cinema. 

Grimmfest can also now reveal that it is partnering with film financing group BCL to offer special prizes for the winners of the BEST FILM and BEST DIRECTOR awards categories. The winning films will each be awarded £40,000 worth of post-production services, which can be used against a future film.

Festival Co-Director Rachel Richardson-Jones says, “Our hope is that these awards will really help to boost productivity within the independent genre film sector, as well as demonstrating our commitment as a festival to supporting rising film talent. We intend to expand these awards further still in 2019.”

Michael Laundon, Managing Partner at BCL, adds “All of us at BCL are delighted to be one of the prize sponsors for Grimmfest 2018, especially in their 10th anniversary year. BCL was established with a quest to truly help independent movies to not only get made but to be finished. We hope to continue our support of Grimmfest in the years to come.”

Grimmfest previously announced actress and producer Barbara Crampton (RE-ANIMATOR, FROM BEYOND) as the recipient of their 2018 Lifetime Achievement Award, sponsored by Horror Channel. Barbara will be attending the festival in person to receive the award, where she will also present a special screening of 80’s horror classic RE-ANIMATOR.  

Grimmfest’s 10th edition will take place from the 4th to the 7th October at the ODEON Manchester Great Northern, UK. 

Full festival passes are on sale now from grimmfest.com. Day passes and individual film tickets will be released on 3rd September 2018, along with the full festival programme.