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Vampyros Lesbos

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Vampyros Lesbos (Spanish title: Las Vampiras) is a 1971 West German-Spanish horror film directed and co-written by Jesús Franco.It is, arguably, Franco’s best known film today, having reached a certain cult audience through the success of the mid 1990s soundtrack release, which became a favourite of the easy listening club scene of the time.

It stars Franco’s early 70s muse Soledad Miranda as Countess Nadine Oskudar, a beautiful female vampire who seduces her victims by performing a sensual and erotic nightclub act (a recurring theme in Franco’s films). She takes a fancy to American Linda Westinghouse (Ewa Strömberg) and makes her both a lover and a victim, appearing to her in a series of sexual dreams. When Linda travels to a remote island to claim an inheritance, she meets the Countess in the flesh and is soon under her spell. Dr Seward (Dennis Price, in a character reference to Bram Stoker’s novel Dracula) investigates her case, and on discovering the truth, attempts to use her to become a vampire himself.

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Shot between June and July 1970 in Turkey, the film was one of Franco’s more successful films, both financially and artistically. Coming to the film straight from his most mainstream era (working with the likes of Harry Alan Towers on films like Count Dracula, Venus in Furs, The Bloody Judge and the Fu Manchu series), Franco at this stage seemed to reveling in a new sense of freedom. international censorship allowed him to explore erotic themes more openly, and his movies of the era – others include A Virgin Among the Living Dead and The Erotic Rites of Frankenstein – increasingly eschewed conventional narrative structure in favour of hallucinogenic and psychedelic imagery and music. This is cinema at its most free, and often feels closer to experimental arthouse production than conventional horror.

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Buy Soledad Miranda Vampyros Lesbos poster (image above) from Amazon.co.uk

The lesbian theme as suggested by the title was something that had, only a few years earlier, been taboo in cinema, and Franco certainly exploits it in this film. However, it would be unfair to suggest that the film is soft porn, as has often been claimed. Rather, this is erotic horror, both elements complimenting each other.

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The film would slip from public view by the 1980s, remembered only by Euro horror cultists. But it would have an unexpected revival in 1995, when the soundtrack album was released. In the mid 1990s, easy listening – or ‘loungecore’ – was the big thing amongst London hipsters, and soon spread across the UK and beyond.

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Buy soundtrack CD from Amazon.co.uk

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The film’s score – Manfred Hübler, Siegfried Schwab and Jesús Franco (working under the alias of David Khune) was perfect for these clubs, suffused with sitar and offering a mix of the exotic and the kitsch. The album – originally released as 3 Films By Jess Franco and aimed squarely at soundtrack collectors – was repackaged as Vampyros Lesbos – Sexadelic Dance Party , and was a compilation of the albums Sexadelic and Psychedelic Dance Party, and featured music from three Franco  Vampyros Lesbos, She Killed in Ecstasy and The Devil Came from Akasava.

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It was released by German cult soundtrack specialists Crippled Dick Hot Wax on CD and vinyl. In 2006, an extended version was issued as a double LP. In the UK, Redemption Films issued the film using the artwork featuring Soledad Miranda instead of their usual distinctive black and white covers, to capitalise on the popularity of the film.

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CAST:

Ewa Strömberg as Linda Westinghouse
Soledad Miranda as Countess Nadine Carody
Andrés Monales as Omar
Dennis Price as Dr. Alwin Seward
Paul Müller as Dr. Steiner
Heidrun Kussin as Agra
Michael Berling as Dr. Seward’s assistant
Beni Cardoso as Dead woman (uncredited)
Jesús Franco as Memmet (uncredited)
José Martínez Blanco as Morpho (uncredited)

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Borgman

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Borgman is a 2013 Dutch dark thriller film written and directed by Alex van Warmerdam about an enigmatic vagrant who enters the lives of an upper-class family and quickly unravels their carefully curated lifestyle. It was nominated for the Palme d’Or at the 2013 Cannes Film Festival. Drafthouse Films acquired US distribution rights to the film just over a week after its red carpet premiere. It stars Jan Bijvoet, Hadewych Minis, Jeroen Perceval, Alex van Warmerdam, Tom Dewispelaere, Sara Hjort Ditlevsen, Elve Lijbaart, Dirkje van der Pijl, Pieter-Bas de Waard, Eva van de Wijdeven, Annet Malherbe.

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Plot:

Charming and mysterious, Camiel Borgman seems almost otherworldly, and it isn’t long before he has the wife, children and nanny under his spell in a calculated bid to take over their home life. However, his domestic assimilation takes a malevolent turn as his ultimate plan comes to bear, igniting a series of increasingly maddening and menacing events…

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Reviews:

“For the sake of descriptive economy, it’s tempting to classify “Borgman” (named for its oddly passive-aggressive chief villain) as another entry in the increasingly popular subgenre of the home-invasion thriller, but that would misrepresent the film’s more complex premise. “Home inveigling” or even “home infection” would be closer to the mark: Many of the most horrific domestic violations in this story occur with the permission of the family under threat, lending a Pinter-esque slant to van Warmerdam’s slow-burning narrative.” Guy Lodge, Variety

“The freedom to tell a story absurdly has mostly vanished. What audience conditioned to be literal-minded can put up with it? But van Warmerdam touches his brush lightly, dipping often into violence and vulgarity, and sticking to its commitment from start to finish to never, for one second, make any sense. ” Sasha Stone, The Wrap

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“There isn’t necessarily an assertion that it’s this family’s bourgeois complacency that has led to their undoing, instead the focus is on the mercurial and mysterious Borgman, and his semi-supernatural powers of influence and persuasion. So the didactic tone that can sometimes, let’s be honest, make Haneke feel a bit of a slog, is absent here in favor of a playfulness that permeates even the film’s darkest moments (viz the stupidly beautiful and surreal shot of the dumped bodies in the lake shimmying gently in the current like aquatic plants in a fish tank). It’s not a film that despises its audience or wants you to ask particularly deep questions of yourself, instead it’s a fable, a good-looking parable about the mysterious ways in which evil can work.” Jessica Kiang, Indie Wire

“Obviously we’re in creepy, provocative and somewhat ambiguous territory here, but van Warmerdam also brings wit and humor that is often laugh-out-loud hilarious to the proceedings. It’s certainly dark, sterile and deadpan, along with pretty much every stylistic choice in the movie, but also whip-smart, inventive and often very surprising.” Brian Clark, Twitch Film

” … like the bastard child of Luis Buñuel and Micheal Haneke, with the influence of Dogtooth by Yorgos Lanthimos — an unusual, unsettling, and violent demolition of accepted social politics.” Russ Fischer. /Film

Wikipedia | IMDb | Official site


Tokyo Gore Police

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Tokyo Gore Police (東京残酷警察 Tōkyō Zankoku Keisatsu) is a 2008 Japanese-American science fiction splatter film co-written, edited, and directed by Yoshihiro Nishimura (Vampire Girl vs. Frankenstein GirlHelldriver; Zombie TV), It stars Eihi Shiina as Ruka, a vengeful police officer.

The movie is a remake of an independent film that Nishimura made many years before called Anatomia Extinction.

Plot teaser:

In a near future chaotic Japan, a mad scientist known as “Key Man” has created a virus that mutates humans into monstrous creatures called “Engineers” that sprout bizarre weapons from any injury. The Tokyo Police Force has been privatised to deal with this new threat of engineers, so a special squad of officers called “Engineer Hunters” are created to deal with them. However, unlike the average police force, the Engineer Hunters are a private quasi-military force that utilize violence, sadism, and streetside executions to maintain law and order.

Helping the police force is Ruka, a troubled loner who is very skilled in dispatching the Engineers. Along with helping the police, she is looking for the killer of her father, an old-fashioned officer who was murdered in broad daylight by a mysterious assassin. Ruka soon receives a new case to hunt down Key Man, however once she encounters him, he infects her by inserting a key-shaped tumour into her scar-riddled left forearm before disappearing…

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Reviews:

“Propelled by geysers of blood and tidal waves of neuroses, Tokyo Gore Police plumbs wounds both cultural and physical to deliver splatterific social satire.” Jeannette Catsoulis, New York Times

“Garishly coloured, wilfully offensive (but always in a cute way), interspersed with hilarious TV commercial inserts à la Robocop, and full of over-the-top action, fetishistic metamorphoses and impossibly bloody body horror, this film has to be seen to be believed. Totally insane.” Anton Bitel, Little White Lies

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“Partly because the premise is so fantastical (bloody wounds turning into even bloodier and more disgusting weapons), and partly because the film is so violent (too many decapitations, severed limbs, and melted faces to count), Tokyo Gore Police lives up to its name: a wet-dream for any gore-hound.” Monster Chiller Horror Theatre

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Buy the UK 2 disc edition of Tokyo Gore Police at Amazon.co.uk

Buy Tokyo Gore Police 1.5 from Amazon.com

Watch on Amazon Instant Video

” …the attraction of Tokyo Gore Police lies in its over-the-top action and insane visual effects. Nishimura was not working with a big budget but the choices in set design and effects are very resourceful. The film throws everything at the screen, including blood spraying from dismembered torsos in slow-motion, exotic weapons sprouting from injured body parts, and bondage-garbed quadriplegics walking on swords.” Fantastic Fest 2008

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“If you haven’t seen a Japanese gore film before, Tokyo Gore Police is probably the only one you’ll ever have to watch to satiate your curiosity. It’s not a horrible film; it’s not a great film; it’s just everything it tries to be — perverse, grotesque, bizarre — and a little more. Check it out, but this time don’t order popcorn: You’ll want to watch this movie on an empty belly.” amctv.com 

Wikipedia | IMDb | Thanks to the following for some images: The Gomorrahy

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Donnie Darko

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Donnie Darko is a 2001 American dark fantasy film written and directed by Richard Kelly and starring Jake GyllenhaalDrew BarrymorePatrick SwayzeMaggie GyllenhaalNoah WyleJena Malone, and Mary McDonnell. The film depicts the adventures of the title character as he seeks the meaning and significance behind his troubling Doomsday-related visions.

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Budgeted with $4.5 million and filmed over the course of 28 days, it initially grossed just under $7.7 million world-wide. The limited U.S. release of the film occurred during the month after the September 11 attacks. It was subsequently held back for almost a year for international release. Since then, the film has developed a large cult following, resulting in the release of a 20 minutes longer director’s cut.

A 2009 sequel, S. Darko, centers on Sam (Daveigh Chase), Donnie’s younger sister. Sam begins to have strange dreams that hint at a major catastrophe.

Plot Teaser:

On October 2, 1988, Donnie Darko (Jake Gyllenhaal), a troubled teenager is awakened and led outside by a figure in a monstrous rabbit costume, who introduces himself as “Frank” and tells him the world will end at a specific time in 28 days. At dawn, Donnie returns home to find a jet engine has crashed into his bedroom. His older sister, Elizabeth (Maggie Gyllenhaal), informs him the FAA investigators do not know where it came from.

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Donnie tells his psychotherapist, Dr. Thurman (Katharine Ross), about his continuing visits from Frank. Acting under Frank’s influence, he floods his school by damaging a water main. He also begins dating new student Gretchen Ross (Jena Malone), who has moved to town with her mother under a new identity to escape her violent stepfather. Gym teacher Kitty Farmer (Beth Grant) blames the flooding on the influence of the short story “The Destructors“, assigned by dedicated English teacher Karen Pomeroy (Drew Barrymore), and begins teaching attitude lessons taken from motivational speaker Jim Cunningham (Patrick Swayze). Donnie asks his science teacher, Dr. Kenneth Monnitoff (Noah Wyle), about time travel after Frank brings up the topic, and is given the book The Philosophy of Time Travel, written by Roberta Sparrow (Patience Cleveland), a former science teacher at the school who is now a seemingly senile old woman.

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Dr. Thurman tells Donnie’s parents that he is detached from reality, and that his visions of Frank are “daylight hallucinations”, symptomatic of paranoid schizophrenia. Donnie disrupts a speech being given by Jim Cunningham by insulting him in front of the student body, then burns down Cunningham’s house on instructions from Frank. When police find evidence of a child pornography operation in the house’s remains, Cunningham is arrested. During a hypnotherapy session, Donnie confesses his crimes and says that Frank will soon kill someone…

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Buy Original and Director’s Cut on Blu-ray from Amazon.co.uk

Reviews:

“the drowsy surrealism and elaborate inconclusiveness of Donnie Darko will simultaneously guarantee it a rabid cult and put it way off limits to the don’t-get-its. It shares with David Lynch’s Eraserheada stubbornly-what-it-is unhipness that ensures inadvertent, and possibly perennial, hipness … But the flaws, if you find them to be so, are merely grit in the texture. As with any richly woven work of art, if you’re attuned to it, you take what you need from “Donnie Darko” at each given viewing, and you take something different every time.” Rob Gonsalves, eFilmCritic.com

“I guess what bothered me the most is the utter “importance” that was placed on every insight revealed along the way. As if the filmmaker were bashing you over the head to say, “You better pay attention because parts of this film are really, really deep and meaningful.” Well, for some, maybe, but not for me. This is really one of those Rorschach test films. You either love it or hate it. For those who loved it, I have only one word: overrated.” Chris Gore, Film Threat

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“But how stimulating to see a film that really can be scary and believes in its own scariness, scariness with a point – not like the preprogrammed generic film-school pseudo-shockers we’ve been offered recently. The scariness is rooted in compassion: you are just afraid for Donnie … This resolution works as an anguished metaphor: there’s almost a kind of thanatos , a yearning for death in the mind of the sufferer. Donnie does not want to be terrified of his demons any more, delusional or otherwise, and doesn’t want them to poison the lives of everyone around him either. Donnie Darko isn’t perfect, either as horror film or psychological study. But what a refreshingly different, distinctive piece of work it is.” Peter Bradshaw, The Guardian

Donnie Darko: The Director’s Cut is alive, original and intriguing. It’s about a character who has no explanation for what is happening in his life, and is set in a world that cannot account for prescient rabbits named Frank. I think, after all, I am happier that the movie doesn’t have closure. What kind of closure could there be? Frank takes off the insect head and reveals Drew Barrymore, who in a classroom flashback, explains the plot and brings in Grandma Death as a resource person?” Roger Ebert, Rogerebert.com

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Buy Director’s Cut on Blu-ray from Amazon.com

Wikipedia | IMDb | Official website


Hindi comic book covers

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The following is just a selection of the Hindi comic book covers posted by Aeron Alfrety on his Monster Brains blog. Sadly, we have no details regarding the historic nature of these often surreal images or the artists themselves.

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Please visit Monster Brains to enjoy more Hindi comic books images and much more besides!

Indian horror films on Horrorpedia: 1920: Evil Returns | Aatank | Aatma (2006) | Agyaat | Bandh Darwaza | Bees Saal Baad | Bhoot Returns | Bollywood Evil Dead | Cape Karma | Darling | Darwaza (1978) | Dracula 2012 | Ek Thi Daayan | Horror Story | Khooni Panja | Purana Mandir | Purani Haveli | Qatil Chudail | Veerana (1988)

 

 

 


Horrorpedia Facebook Group

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Open up your mind for everyone’s dissection and delectation!

There is now a Facebook Group for Horrorpedia users/followers. Sign up and have your say about all things horror related!

Post anything and everything about horror, sci-fi, cult and exploitation movies and culture. Write about movies, TV series, books, magazines, comics, theatre, computer games, theme rides, haunted houses, true crime, novels, rock bands, cartoons, artwork, toys and games, iconic directors, actors, writers, producers, composers… it’s all wide open for discussion, your opinions, celebration, rants and whines!

https://www.facebook.com/groups/1433353243589747/

And don’t forget you can also follow all Horrorpedia posts by signing up to our standard Facebook ‘like’ page

Plus, we’re on Tumblr – 8,000+ more images, many of them more disturbing than on our main site!

Twitter – for instant updates regarding posts

And we have a growing presence on Pinterest – lots of great images, many of them not on the main site!

The main hacksaw-to-the-head image is from Horror Express

Contact us via: horrorpedia.email@gmail.com


Strange Hostel of Pleasures

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Strange Hostel of Pleasures (original title: Estranha Hospedaria dos Prazeres) is a 1976 Brazilian film by Brazilian horror film director José Mojica Marins. Marins is also known by his alter ego Zé do Caixão (in English, Coffin Joe). The film features Coffin Joe as the main character, although it is not part of the “Coffin Joe trilogy” (At Midnight I’ll Take Your SoulThis Night I Will Possess Your Corpse, and Embodiment of Evil). In the US, it was released on DVD as Strange Hostel of Naked Pleasures.

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The film was written by Marins and the bulk of the film directed by Marcelo Motta as a favour to the busy Marins, although Marins maintained control over certain scenes. The film was produced on a low budget and is filmed in that style, which at that time in Brazilian cinema was known as Boca do Lixo, or Mouth of Garbage Cinema. The film features simple yet gruesome visual and audio effects such as stock sound clips, surreal noises, screams and vocal utterances.

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Plot teaser:

The film opens with a surreal sequence of dancing women, monkey-like figures fearing lightning, and native Brazilian drummers. An old man begins chanting over a closed coffin. The coffin opens and a man rises. He appears with a top hat, cape, and long fingernails.

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In an isolated inn called “Hospedaria dos Prazeres“, the mysterious proprietor advertises for employees to serve his guests while they stay the night of a tempestuous storm. As the storm gathers and night falls, various people begin to show up. The proprietor (Marins) allows some to stay while informing others that there are no vacancies, to their obvious displeasure because of the severity of the storm. A wealthy patron who is turned away vows to get the police. The guest book is already filled with the names of the permitted guests before they arrive; they include a group of drunken and promiscuous bohemian motorcyclists, an adulterous couple, a suicidal man, an amorous couple, a group of thieves who just finished a robbery, and some gambling businessmen preparing a deal to bankrupt a competitor. The number of guests is twelve…

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Reviews:

“By any conventional standards it’s truly awful, whether you’re looking at the acting, the direction, the editing, the writing, the effects, the soundtrack. Yet it’s somehow hypnotic, never boring even though it really should be, and definitely something that you know you’ve seen. You may not know what but you’re probably going to remember it, talk about it to others and try to find it to watch again. As strange and exploitative as the title suggests.” Hal C.F. Astell, Apocalypse Later

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“As with the other Coffin Joe films, the movie is very surreal and features lots of screams and other weird sound effects that are designed to really put the viewer at unease. Seeing Coffin Joe standing at the counter of a hostel, stroking a stone skull, is not something one easily forgets. It is amazing to me how well these movies stand up, given their age, and Strange Hostel of Naked Pleasures is no different.” Mad Mad Mad Mad Movies

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Choice dialogue:

“Live to die or die to live? Is there an answer? No! Only doubts! Only deductions… Only the conviction of emptiness… of loneliness… the desperate search for the whole and the nothing in the vastness of the dark. The unveil of this enigma would be the end of the mystery. The end of the secret of eternity. The apogee of happiness. The mission is accomplished! Men would be facing his biggest conquest… the awakening of his own origin.”

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Wikipedia | IMDb | Official site | Image credits: Cinema Para Doidos


Housebound

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‘Terror gets domesticated’

Housebound is a 2013 New Zealand comedy horror film that was written and directed by Gerard Johnstone, and his feature film directorial debut. It stars Rima Te Wiata, Morgana O’Reilly, Glen-Paul Waru and Cameron Rhodes.

The film made its international debut on March 10, 2014 at South by Southwest. In April 2014, Housebound won the audience award at the Dead by Dawn festival in Edinburgh. It also won the H. R. Giger Award « Narcisse » for Best Feature Film at the Neuchâtel International Fantastic Film Festival in July 2014

Johnstone was first inspired to create a horror film after watching Ghosthunters on television and received additional inspiration from classic films such as The Changeling and The Legend of Hell House. Whilst writing the script Johnstone wanted the character of Kylie to be “someone that wouldn’t scare easily. That way, when she does finally fall victim to fear, it’s much more palpable.”

Plot teaser:

Kylie Bucknell is forced to return to the house she grew up in when the court places her on home detention. Her punishment is made all the more unbearable by the fact she has to live there with her mother Miriam – a well-intentioned blabbermouth who’s convinced that the house is haunted. Kylie dismisses Miriam’s superstitions as nothing more than a distraction from a life occupied by boiled vegetables and small-town gossip. However, when she too becomes privy to unsettling whispers & strange bumps in the night, she begins to wonder whether she’s inherited her overactive imagination, or if the house is in fact possessed by a hostile spirit who’s less than happy about the new living arrangement…

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Reviews

” … sometimes at the festival you walk into a room knowing nothing, sit down, and get your skull punched in by a movie that is calibrated perfectly, that knows exactly what it wants to do, and that seems almost unnaturally confident considering it was made by a first-time feature director”. Hitfix 

“Johnstone maintains a good sense of mystery and, in addition to being able to deliver the laughs, he’s got a firm grasp on what makes a scare gag effective. They evolve as the film progresses, culminating in a fiercely fun and unrelenting finale. And underneath it all, layered beneath the humor and bloodshed, Housebound is a nice meditation on rediscovering family regardless of how quirky or unexpected it can be.” Ryan Turek, Shock Till You Drop

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“… neatly carries some universal ideas about throwing away childish indignation and rebellion, and getting to know your parents as people with pasts and personal lives, not just nagging overseers.” Fangoria

“The leading ladies steal the show, both separately and as a duo, and there’s some great support from Glen-Paul Waru as a security guard who helps Kylie search for clues — but a special mention goes to everyone in the sound and music departments on Housebound. Not only is Mahuia Bridgman-Cooper’s score both evocative of horror classics and wonderfully energetic in its own right, but Mr. Johnstone and his aural technicians have taken special care in this department.” Scott Weinberg, FEARnet

WikipediaIMDb

Posted by WH



Zombie TV

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Zombie TV is a 2013 Japanese action/horror/comedy film co-written and co-directed by Maelie Makuno, Yoshihiro Nishimura (Tokyo Gore Police; Vampire Girl vs. Frankenstein Girl; Helldriver) and Naoya Tashiro (splatter shorts: Naked Sister; Hell of the College Girls; Cannibal Maid and Killer Nurse).

It stars Maki Mizui, Takashi Nishina, Tomoya Maeno, Miyuki Torii, Jiji Bû, Hidetoshi Ezawa, Luchino Fujisaki, Yasu Genki.

Press release:

A Monty Python-esque collection of shorts, animation, sketch comedy, instructional videos and more, Zombie TV showcases the natural evolution of zombies in the 21st century, no longer a frightening menace, but rather an annoying neighbour you realise you simply have to put up with.

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Zombie TV answers such natural questions as: in a world full of the undead, wouldn’t some of the surviving humans want to join the majority and become zombies themselves? Would becoming a zombie solve the emotional and relationship problems we all have as living, breathing human beings?

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Do zombies have their own idols? Would zombies worship a zombie god? Who would win in a fight: a cannibal, or a zombie? How did zombies evolve from walkers into runners? And the most burning question of all: how do zombies have sex?

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Helldriver Blu-ray

Buy Helldriver on Blu-ray from Amazon.co.ukAmazon.com

IMDb | Facebook


The Cars That Ate Paris

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The Cars That Ate Paris- aka The Cars That Eat People - is a 1974 Australian horror comedy film. Directed by Peter Weir, it was his first feature film. The film stars John MeillonTerry Camilleri,, Chris Haywood and Bruce Spence.

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Plot teaser

Lying in a gently rolling range of hills, the town of Paris has prospered from the hunting and destruction of cars: the road into Paris is a death trap. Into this trap drive George and Arthur Waldo. George is killed; Arthur survives and is pronounced harmless by the mayor. Although unaware, Arthur is a prisoner. He must never leave Paris. But the town that lives by the car shall die by the car, and eventually the hunters become the hunted

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The producers unsuccessfully attempted to negotiate an American release for the film with Roger Corman after it was shown with great success at the Cannes Film Festival, being the first Australian film to gain international recognition at the Festival. Shortly afterwards Corman recruited Paul Bartel to direct his Death Race 2000; Bartel hadn’t seen The Cars That Ate Paris but he was aware that Corman had a print of the film.

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The movie struggled to find an audience in Australia, changing distributors and with an ad campaign unsure whether to pitch it as a horror film or art film. However it has become a cult film. In 1980, $112,500 had been returned to the producers. It received an American release in 1976 by New Line Cinema under the title The Cars That Eat People with added on narration and other differences.

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In 1992, it was adapted as a musical theatre work by Chamber Made Opera.

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Buy The Cars That Ate Paris on DVD from Amazon.co.uk | Amazon.com

Reviews

“Starting out creepy and soon moving on to full-on violence, The Cars That Ate Paris shifts gears with ease. Its petrol-soaked atmosphere is perfectly out of place in the serene landscape of Australia’s First State, which only results in a more powerful impact. Effortlessly employing surrealist and fantasy tropes in a story that is, ultimately, never very far from the possible, Weir steers us on a dizzying journey through autophilia, survivalist politics, and the darker side of human nature.” Eye For Film

“There is very little conventionality in this first feature from respected Australian auteur Peter Weir. More or less an experiment in impression and suggestion, The Cars that Ate Paris does a magnificent job of setting up a surreal, sinister tone for the people and location of Paris. Like a wily magician, Weir hints at hidden horrors (the late night car raids, the infirmary full of “veggies”) and never lets his story get overly expositional. Many things are implied here and it takes an alert viewer to catch them all.” DVD Verdict

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“After a wickedly funny start, graced by some of the eerie lyricism of Weir’s The Last Wave and Picnic At Hanging Rock, The Cars That Ate Paris loses some of its allegorical grip in the second half, when the younger generation breaks off into lawless, terrorizing motor clans. Featuring snarling, custom-made death machines, including the poster-image Volkswagen Beetle with porcupine spikes, the climactic mayhem has the flamboyant kick of later work like Mad Max and The Warriors, but the film has frittered away its social commentary.” The A.V. Club

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Wikipedia | IMDb

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Viy (2012)

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Viy (Russian: Вий) – also known as Viy 3D – is a 2012 dark fantasy film directed by Oleg Stepchenko. It is loosely based on the Nikolai Gogol story Viy (previously filmed in 1967) and a real person – Guillaume Le Vasseur de Beauplan (1595-1685) – a French traveler and cartographer who was the first to study the Ukrainian territories and their people and culture.

The film has been in production since December 2005 and stopped several times due to lack of funding. It stars Jason Flemyng (From Hell; The BunkerThe League of Extraordinary Gentlemen), Aleksey ChadovValery Zolotukhin, Anna Churina, Charles Dance, Agniya Ditkovskite.

In October 2012, filming was completed and distribution was sought via Universal. Viy was released in 3D in cinemas in Russia, Ukraine and Azerbaijan on 30 January 2014.

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Plot teaser:

Early 18th century. Cartographer Jonathan Green undertakes a scientific voyage from Western Europe to the East.

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Having passed through Transylvania and crossed the Carpathian Mountains, he finds himself in a small village lost in impassable woods of Ukraine. Nothing but chance and heavy fog could bring him to this cursed place. People who live here do not resemble any other people which the traveler saw before that.

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The villagers, having dug a deep moat to fend themselves from the rest of the world, share a naive belief that they could save themselves from evil, failing to understand that evil has made its nest in their souls and is waiting for an opportunity to gush out upon the world…

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Wikipedia | IMDb | Official website

 


City of the Living Dead

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‘The dead shall rise and walk the Earth’

City of the Living Dead – Italian: Paura nella città dei morti viventi [translation: Fear in the City of the Living Dead], released in the US as The Gates of Hell – is a 1980 Italian horror film directed by Lucio Fulci (Zombie Flesh Eaters; The Beyond; The New York Ripper) from a screenplay co-written with Dardano Sacchetti. It is the first instalment of the unofficial Gates of Hell trilogy that also includes The Beyond and The House by the Cemetery. The film’s haunting score is by Fabio Frizzi and was issued again as a vinyl album in 2013 by Death Waltz Recording Company.

 

The film stars Christopher GeorgeCatriona MacCollJanet Agren, Antonella Interlenghi, Giovanni Lombardo RadiceMichele SoaviVenantino Venantini. Director Fulci makes an uncredited cameo appearance as Dr. Joe Thompson.

Plot teaser:

In New York City, during a séance held in the apartment of medium Theresa, Mary Woodhouse (Catriona MacColl) experiences a traumatic vision of a priest, Father Thomas (Fabrizio Jovine), hanging himself from a tree branch in the cemetery of a remote village called Dunwich.

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When the images overwhelm her, Mary goes into convolutions, and falls to the floor as if dead. The police interrogate Theresa, but fail to heed her warnings of an imminent evil. Outside the apartment building, Peter Bell (Christopher George), a journalist, tries to gain entry to the premises but is turned away.

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The following day, Mary is buried in a local cemetery on Long Island overlooking Manhattan and Peter visits her grave site. The gravediggers (Perry Pirkanen and Michael Gaunt) leave Mary’s half-covered coffin at the end of their work shift and leave. Soon, Peter hears muffled screams as he reluctantly leaves the graveyard. Using a pickaxe, he frees the screaming woman from her premature burial, but with the axe coming dangerously close to her head as it smashes through the casket lid.

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Peter and Mary visit Theresa where she warns them that according to the ancient book of Enoch, the events Mary has witnessed in her visions presage the eruption of the living dead into our world. The death of Father Thomas, a marked priest, has somehow opened a door through which the living dead can enter and the invasion will commence on All Saints Day, just a few days away…

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Reviews:

” …with its nonsensical ‘plot’ randomly constructed according to the illogic of fear, and its grotesque emphasis on physical mutability, fragmentation and decay, it could just conceivably be the sort of disreputable movie the surrealists would have loved.” Time Out

” …City of the Living Dead’s narrative is bland and workmanlike, but it does at least plod along at a solid and continuous pace like the beating drum in Fabio Frizzi’s effective, minimalistic score. That score and every other aspect of the film really come into their own in the big finale; when the location of the portal into hell is discovered and Fulci’s direction is at its most stylish and lively, building up into a final shot that is perplexingly ambiguous.” Matt Shingleton, The Digital Fix

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“While usual undead stylish Giannetto De Rossi isn’t along for the ride, these walking corpses are appropriately ghoulish and maggot infested. Their collective, grand rising occurs in one of Fulci’s best set-pieces: a dank, dark, cobwebbed crypt that exudes death. Whereas the barren wasteland of The Beyond is eerie in its vast emptiness, this is terrifying in its claustrophobia. Our characters here stumble into an eternal sea of visceral, violent death rather than a spiritual, soul-sucking demise.” Brett G., Oh, the Horror!

“What Fulci gives us is a collage of images, some of which fit into the film’s story arc, while others simply add to the overall atmosphere of apocalyptic doom. So, a shower of maggots appears out of nowhere, a boy’s head comes into contact with an industrial drill and a woman vomits up her intestines.” Jamie Russell, Book of the Dead: The Complete History of Zombie Cinema

Book of the Dead Zombie Cinema Jamie Russell

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“The story does verge on the incoherent at times and certainly isn’t as neatly tied together as The Beyond or The House By The Cemetery, but has a rather more dreamlike quality to it. The build up to the slightly anti-climactic ending is somewhat surreal… Andygeddon

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City of the Living Dead is saturated with technical exaggeration, teeming with oddball performances and high on its own outrageous contrivances. Elegant cross-fades and superimpositions add beauty, as do a handful of judicious, painterly details, like the petal seen dropping silently from the rose held by the catatonic Mary in her coffin. All these factors coalesce, and the film survives its thin story thanks to the eccentricity of its detail.” Stephen Thrower, Beyond Terror: The Films of Lucio Fulci

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Buy City of the Living Dead on Arrow Video Blu-ray | DVD from Amazon.co.uk

Special features:

  • Original Theatrical trailer
  • Dame of the Dead
  • Live from the Glasgow Theatre
  • The Many Lives And Deaths of Giovanni Lombardo Radice
  • Penning Some Paura – Dardano Sacchetti Remembers COTLD
  • The Audio Recollections of Giovanni Lombardo Radice
  • Audio Commentary with Catriona Macoll and Jay Slater
  • Profondo Luigi – A Colleague’s Memories of Lucio Fulci
  • Fulci’s Daughter – Memories of the Italian Gore Maestro
  • Carlo of the Living Dead – Surviving Fulci Fear
  • Fulci in the House: The Italian Master of Splatter
  • Gallery of the Living Dead

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Choice dialogue:

Bar owner: “A few beers and you fellows start seeing ghouls and devils all over the place.”

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Cast:

  • Christopher George as Peter Bell
  • Catriona MacColl as Mary Woodhouse (credited as Katriona MacColl)
  • Carlo De Mejo as Gerry
  • Janet Agren as Sandra
  • Antonella Interlenghi as Emily Robbins
  • Giovanni Lombardo Radice as Bob
  • Daniela Doria as Rosie Kelvin
  • Fabrizio Jovine as Father William Thomas
  • Luca Venantini as John-John Robbins (credited as Luca Paisner)
  • Michele Soavi as Tommy Fisher
  • Venantino Venantini as Mr. Ross
  • Enzo D’Ausilio as Sheriff Russell’s deputy
  • Adelaide Aste as Theresa
  • Luciano Rossi as Policeman #1 in Theresa’s apartment
  • Robert Sampson as Sheriff Russell
  • Lucio Fulci as Dr. Joe Thompson
  • Michael Gaunt as the Gravedigger #1
  • Perry Pirkanen as the Blonde Gravedigger
  • James Sampson as James McLuhan; Séance Member
  • Martin Sorrentino as Sgt. Clay
  • Robert E. Warner as the Policeman Outside Theresa’s apartment building

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Wikipedia | IMDb


Motivational Growth

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‘The Mold knows Jack, The Mold knows.’

Motivational Growth is a 2013 independent comedy horror film written, edited and directed by Don Thacker. It stars Jeffrey Combs (as the voice of The Mold), Adrian DiGiovanni, Danielle Doetsch, Pete Giovagnoli, Ken Brown, Robert Kramer, Hannah Stevenson, Laura Carlson.

Plot teaser:

Ian Folivor, a depressed and reclusive 30-something, finds himself taking advice from a growth in his bathroom after a failed suicide attempt. The Mold, a smooth talking fungus who was born of the filth collecting in a corner of Ian’s neglected bathroom, works to win Ian’s trust by helping him clean himself up and remodel his lifestyle. With The Mold’s help, Ian attracts the attention of a neighbour he’s been ogling through his peephole, Leah, and he manages to find a slice of happiness despite his unnatural circumstances. But Ian starts to receive strange messages from his old and broken down TV set that make him realize that The Mold may not be as helpful as it seems to be, and strange characters combined with stranger events cast Ian’s life in the shadow of an epic battle between good and evil that Ian is only partially aware of…

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Reviews:

“Writer/director Don Thacker makes this film work on so many levels. First, he tries many different techniques to make the story interesting and succeeds. Ian breaks the fourth wall with the audience early on and teaches a lesson on how little things become significant when one is depressed and lives alone. Next, Thacker moves the story forward through the use of animation (splendidly created by Jérémie Périn) and by inserting Ian into the very television programs he has been hooked on watching. Finally, the camera is utilized to make the most of a cramped and cluttered apartment.” Namtar, Nuke the Fridge

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“The fact that 90% of this film takes place with a guy talking to the camera on his couch, all the while maintaining a creative, interesting, and intelligent edge all the way through, is a testament as to how great Motivational Growth truly is. The alternating dark and light tones give this film a unique texture, never really letting on as to where it will go next. Sure to poke, prod, and play with your brain in ways normal cinema does not, Motivational Growth is unlike anything you’ve seen before.” Ambush Bug, Ain’t It Cool News

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“It’s set in the 1990s, uses chiptunes by Alex Mauer for a soundtrack that sound straight out of a video game, and even has 8-bit video game style cutscenes for certain scenes that add even more character to the film. What’s even more interesting is the film’s budget, and what Thacker was able to do with it. Shot for just over $176K, the limited number of effects that Thacker was able to pull off were quite impressive. As far as the gore goes, there isn’t too much going on, but there are more gross-out moments than gore, such as Ian eating fungus, vomiting various types of goo, rotted dead bodies and more.” Pat Torfe, Bloody Disgusting

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The Blood Drinkers aka Vampire People

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‘A cult of undead creatures seek fresh, warm, human blood!’

The Blood Drinkers is a 1964 Filipino horror film – original title: Kulay dugo ang gabi “Blood is the Colour of Night” – directed by Gerardo De Leon (Terror is a Man; Brides of Blood; Mad Doctor of Blood Island) from a screenplay by Cesar Amigo.

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In the US, it was released by Hemisphere Pictures in 1966 on a double-bill with The Black Cat. It has also been released a Vampire People.

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Producer Cirio H. Santiago also directed a couple of horror movies (Vampire Hookers; Demon of Paradise) but is mainly known for his prolific action movie output.

The film stars Ronald Remy, Amalia Fuentes, Eddie Fernandez, Eva Montes, Celia Rodriguez, Renato Robles, Mary Walter, Paquito Salcedo. Ubiquitous Filipino actor Vic Diaz (Vampire Hookers) provides the voice of a priest and narrator.

Plot teaser:

A vampiric aristocrat, Dr Marco (Ronald Remy), is traumatised that his beloved Katrina is dying. So, he travels to a village to take the heart and blood of her twin sister Christine (both played by Amalia Fuentes) in order to save his beloved. Aided by a hunchbacked assistant, a sexy female vampire named Tanya (Eva Montes), and a flapping bat, he terrorises the local people until a young traveller named Charles (Eddie Fernandez) arrives to fight off evil…

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Reviews:

The Blood Drinkers is an odd film that floats back and forth between being quite campy at times, and quite effective at others. On the one hand you have some really cheesy elements. There’s a extremely fake looking bat that keeps showing up, complete with wires attached. Marco’s dwarf henchman has ridiculous snaggletooth makeup and keeps making silly “ooh ooh” noises … On the other hand, Marco is a legitimately creepy vampire. Many scenes are effectively eerie and there is a fair degree of creative photography on display.” Forgotten Films

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” …there are striking images on display that show the meeting of traditional Gothic vampire films with the modern age (in this case, 1964). There is a power and sense of humor behind shots of Dr. Marco draped in his black cape, while wearing wrap-around sunglasses. Even more tongue-in-cheek, but no less beautiful, is a shot of a horse-drawn carriage transporting an ornate coffin, with a cherry red convertible right behind it … an interesting, but flawed, entry in the genre.” Obsessive Movie Nerd

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Buy The Blood Drinkers on DVD from Amazon.comAmazon.co.uk

“Although the editing is jerky and the English dubbing perfunctory, De Leon makes good use of emotive red and blue sequences to punctuate the black and white film. The film also features an interesting fight between the hero and the vampire in which the villain annoys his opponent by constantly rendering himself invisible.” Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

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” …the atmosphere is remarkable. It’s consistently thick, heady, dreamy, and mysterious, with a subdued sexuality. Most scenes are shot at night, swirling with fog, bathed with moonlight, speckled with candles. The stone cemetery and tall mausoleum appear often enough to be considered characters. The unobtrusive score flows beneath the film like an underground river. A theremin accents the vampire attacks…” David Elroy Goldweber, Claws & Saucers

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” …the visual star of the film is the decision to film large parts of it in black and white that was later on tinted, mostly in quite striking red and blue tones.

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This lends the film a mood of unreality which fits its rather illogical plot-progression and jumpy editing perfectly, lending the air of a dream to flaws that were probably based on mere incompetence or lack of funds.” The Horror!?

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” …some wonderful use of lighting and smoke and what would be a poor budget looks greater than it should. The film has narration throughout from the priest and takes a very Catholic approach to the subject, so there is no attempt at camp or kitsch here. This is indeed a limited script and scenes are clearly lost but The Blood Drinkers is a gem which should appeal to fans of Bava’s gothics or Marins’ Coffin Joe films.” John White, 10k Bullets

“The film is full of baroque, even outrageous touches (an explanation for vampirism and wooden stakes involving the vampirus bacillus (borrowed from Richard Matheson, perhaps?); a suggestion of vampiric fellatio). But perhaps the strangest sequence in the whole film is the moment when Dr. Marco and Katrina are saved by, yes, the power of prayer. The moody black-and-white cinematography gives way to a flood of (somewhat faded), Technicolor (to indicate a return to normalcy), and the two lovers walk through what looks like a botanical garden gone wild, all lush greenery and tropical blooms.” Critic After Dark

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IMDb

 


He’s My Thing by Babes in Toyland – song/music video

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He’s My Thing is a single by all-female punk rock band Babes in Toyland from their 1990 ‘Spanking Machine’ album, produced by Jack Endino (Mudhoney; Screaming Trees; Nirvana).

As if the track wasn’t scary enough itself, the accompanying music video, directed by Philip Harder, includes a plethora of creepy moving doll images that recall Stephen Weeks’ Ghost Story (1974).

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Harder also created distinctive promo videos for bands such as Big Black, The Wedding Present, Afghan Whigs and Cornershop.

The song He’s My Thing subsequently appeared on the 1994 collection ‘Dystopia’. Babes in Toyland reformed in 2014 and are on tour around the world now…



The Premonition

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‘Beyond the power of an exorcist…’

The Premonition is a 1975 American horror film produced and directed by Robert Allen Schnitzer from a screenplay co-written with Anthony Mahon. Noted American composer Henry Mollicone provided the distinctive score. The film was released in New York in May 1976.

It stars Sharon Farrell (The Eyes of Charles Sand; It’s Alive; The Fifth Floor), Richard Lynch (Good Against Evil; Alligator II: The Mutation; Scanner Cop), Jeff Corey (Something EvilCurse of the Black Widow; Jennifer), Edward Bell, Chitra Neogy, Ellen Barber, Danielle Brisebois, Rosemary McNamara (Dark Shadows).

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Plot teaser:

Andrea (Sharon Farrell), a demented young mother kidnaps Janie, her six-year-old daughter, from the middle-class couple that adopted her. She also begins insinuating herself into the mind of Sherry, the adoptive mother…

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Buy The Premonition on DVD from Amazon.co.ukAmazon.com

Reviews:

“Strange, complex and haunting, in the Val Lewton tradition, the film draws its effect largely from suggestion as opposed to blatant horror. Eerie and atmospheric, The Premonition is also graced with excellent performances…” Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

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“Everything is explained repeatedly to us, every significant moment in the film telegraphed and exaggerated. While this blatant approach keeps the film from getting boring, it also keeps it from making the intellectual and emotional impact that it clearly desires. Schnitzer simply doesn’t trust the audience.” David Elroy Goldweber, Claws & Saucers

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A great cast, offbeat direction, and good camerawork just can’t help the obvious and pretentious script. I will give The Premonition a little credit for its eccentricity and quirkiness but I barely got through this one.” Cinema Somnambulist

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“I saw The Premonition when it first arrived in theaters in 1976. It frightened the bejesus out of me then, with it’s nightmarish segments in particular Jude’s (Richard Lynch) and Andrea’s (Ellen Barber) uncontrollable fits of rage. Their joint psychosis was a very powerful elixir as part of the carnival set piece. Their relationship alone could have made for an interesting story of madness, obsession and self-destruction.” The Last Drive In

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Choice dialogue:

Landlady: “I would recognise him, even if I was blindfolded.”

Dr. Jeena Kingsly: “Unless we turn it into love, anger never dies.”

Filming locations:

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WikipediaIMDb | Screen grabs courtesy of The Last Drive In (visit site for many more images)

 


The Super Inframan aka Infra-Man

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The Super Inframan – ; ZhōngGuóChāoRén, translated literally as “Chinese Superman” – is a 1975 Hong Kong science fiction monster film produced by Shaw Brothers. Inspired by the huge success of the Japanese tokusatsu shows Ultraman and Kamen Rider, this film features the same type of “henshin“, monster/robot action and costumed derring-do, coupled with Chinese kung fu action.

The film was directed by Hua Shan, from a screenplay by science fiction writer Ni Kuang. The Inframan/Science Headquarters/monster costumes were provided by Ekisu Productions, which had done costumes for many Toei Superhero shows of the same period. The film also starred Danny Lee (The Mighty Peking Man) as the superhero himself, and Bruceploitation star Bruce Le in a supporting role.

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The following year, Joseph Brenner Associates brought this film to the US, and retitled it simplyInfra-Man, with the advertising campaign slogan “The Man Beyond Bionics!” attempting to capitalize upon the Six Million Dollar Man’s success.

In 2004, the film was released on DVD in Japan and Hong Kong.

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Plot teaser:

In 2015, Demon Princess Elzebub plots to conquer the Earth. She destroys a few major cities in China to prove her power to a terror-stricken humanity. Returning to her lair in Inner-Earth, she awakens her army of Skeleton Ghosts and various Ice Monsters to wreak havoc on the surface.

But there is hope at the high-tech Science Headquarters, run by Professor Liu Ying De. He has at long last completed and is prepared to use the BDX Project: In the HQ’s secret laboratory, he transforms Lei Ma, a high-ranking officer, into the nuclear-powered bionic kung fu superhero, the Inframan!

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Reviews:

‘The movie even looks good: It’s a classy, slick production by the Shaw Brothers, the Hong Kong kung fu kings. When they stop making movies like Infra-Man, a little light will go out of the world.’ Roger Ebert, Chicago Sun-Times

‘So fast-paced as to be borderline incoherent and filled with eye-searing colors, garish costumes and martial arts battles that tip over into pure surrealism, Infra-Man is like the Mighty Morphin Power Rangers on high-grade bath salts, and that’s a very, very good thing!’ The Loft Cinema

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‘ …a non-stop hodgepodge of Saturday morning live action TV thrills, and despite its ineptitude, paper thin plot, men in rubber monster suits, and overall juvenile attitude, you won’t find a more brainlessly fun piece of cinema anywhere, especially in this age of stuffy CGI overkill. Sure the special effects are dated here, but that doesn’t mean they don’t have a certain appeal to them, as lots of laser beams are shot, lots of things explode, and monsters and mortals battle in some well orchestrated karate sequences for which the Shaw Brothers are known for.’ George R. Reis, DVD Drive-In

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Wikipedia | IMDb | Image thanks: VHSCollector.com


Gozu

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Gozu – 極道恐怖大劇場 牛頭 GOZU Gokudō kyōfu dai-gekijō: Gozu, literally: “Yakuza Horror Theatre: Cow’s Head” – is a Japanese cult film directed by Takashi Miike (Ichi the Killer) and written by Sakichi Sato. It stars Hideki Sone and Show Aikawa.

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Plot teaser:

When senior yakuza Ozaki (Sho Aikawa) starts to behave in an increasingly peculiar manner, his superiors start getting worried, and order Ozaki’s immediate underling Minami (Hideki Sone) to get rid of him. On the way to the yakuza disposal dump, Minami, nervous about the job ahead of him, hits the brakes too hard and kills Ozaki completely by accident. After he stops to find a telephone to report the incident to his boss, he returns to the car to find that Ozaki’s body has vanished. So begins a desperate and increasingly un-hinged search that takes in a bizarre array of eccentric and deranged suburbanites, each of whom seems to reflect some weird, dark aspect of Minami’s complex and troubled personality…

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Structurally, Gozu is a succession of bizarre scenes sandwiched between a storyline involving Minami’s search for his Yakuza brother Ozaki in a small town, that is reminiscent of the episodic quests in Greek Mythology. Minami’s encounter with a minotaur-like creature gives the film its name (Gozu is Japanese for cow’s head).

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Reviews:

“From the opening yakuza attack dog showdown to the jaw-dropping vaginal finale, you’d be very hard pressed to find anything remotely resembling this celluloid monstrosity anywhere in your local neighborhood video store. Miike, bending genres like cheap dollar store licorice, gently toys with your misshapen head before effectively splitting it open and visually ejaculating all over that blistered meat wad you call a brain.” The Film Fiend

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“Overall, Gozu is an excellent film, which comes highly recommended to more open-minded fans of the director or cinema in general. Although slowly paced and confusing in places, this is a wonderfully surreal and surprisingly intelligent road movie which is both disturbing and oddly touching.” Beyond Hollywood

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“Nothing I can say will really prepare you for this film. Fans of Miike’s work will have an idea of what to expect the rest of you get ready for something you’ve never seen before. Thiis is a skilfully made and thoroughly unique movie which constantly challenges the viewer and you may have considerable difficulty purging the warped surrealism from your mind.” Celluloid Dreams

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Wikipedia | IMDb

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H. P. Lovecraft – author

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H. P. Lovecraft by Sean Phillips

Howard Phillips Lovecraft aka H. P. Lovecraft (August 20, 1890 – March 15, 1937) was an American author who achieved posthumous fame through his influential works of horror fiction.

Virtually unknown and only published in pulp magazines before he died in poverty, he is now regarded as one of the most significant 20th-century authors in his genre.

Lovecraft was born in Providence, Rhode Island, where he spent most of his life. He encountered problems with classmates in school, and was kept at home by his highly strung and overbearing mother for illnesses that may have been psychosomatic. In high school, Lovecraft was able to better connect with his peers and form friendships.

Beginning in his early life, Lovecraft is believed to have suffered from sleep paralysis, a form of parasomnia; he believed himself to be assaulted at night by horrific “night gaunts“. Much of his later work is thought to have been directly inspired by these terrors.

In early adulthood, Lovecraft was established in a reclusive “nightbird” lifestyle without occupation or pursuit of romantic adventures. In 1913 his conduct of a long running controversy in the letters page of a story magazine led to his being invited to participate in an amateur journalism association. Encouraged, he started circulating his stories; he was 31 at the time of his first publication in a professional magazine. By age 34, he was a regular contributor to the newly founded Weird Tales magazine.

Lovecraft returned to Providence from New York in 1926 and, over the next nine months, he produced some of his most celebrated tales, including The Call of Cthulhu, canonical to the Cthulhu Mythos. Never able to support himself from earnings as author and editor, Lovecraft saw commercial success increasingly elude him in this latter period, partly because he lacked the confidence and drive to promote himself. He subsisted in progressively straitened circumstances in his last years; an inheritance was completely spent by the time he died at the age of 46. In early 1937, Lovecraft was diagnosed with cancer of the small intestine, and suffered from malnutrition as a result. He lived in constant pain until his death on March 15, 1937, in Providence.

H._P._Lovecraft,_June_1934

His oeuvre is sometimes seen as consisting of three periods: an early Edgar Allan Poe influence; followed by a Lord Dunsany–inspired Dream Cycle; and finally the Cthulhu Mythos stories. However, many distinctive ideas and entities present in the third period were introduced in the earlier works, such as the 1917 story “Dagon“, and the threefold classification is partly overlapping.

cthulhu1

Although he was able to combine his distinctive style (allusive and amorphous description by horrified though passive narrators) with the kind of stock content and action Weird Tales‘s editor wanted—Wright paid handsomely to snap up “The Dunwich Horror” which proved very popular with readers—Lovecraft increasingly produced work that brought him no remuneration.

The-Dunwich-Horror-Rowena

Affecting a calm indifference to the reception of his works, Lovecraft was in reality extremely sensitive to criticism and easily precipitated into withdrawal. He was known to give up trying to sell a story after it had been rejected just once.

Shadow_Over_Innsmouth_(dust_jacket_-_first_edition)

Sometimes, as with The Shadow Over Innsmouth he wrote a story that might have been commercially viable, but did not try to sell it. Lovecraft even ignored interested publishers. He failed to reply when one inquired about any novel Lovecraft might have ready, although he had completed such a work: The Case of Charles Dexter Ward; it was never typed up.

Weird_Tales_February_1928

Lovecraft was relatively unknown during his own time. While his stories appeared in the pages of prominent pulp magazines such as Weird Tales (eliciting letters of outrage as often as letters of praise from regular readers of the magazines), not many people knew his name. He did, however, correspond regularly with other contemporary writers, such as Clark Ashton Smith and August Derleth, people who became good friends of his, even though they never met in person. This group of writers became known as the “Lovecraft Circle”, since they all freely borrowed elements of Lovecraft’s stories – the mysterious books with disturbing names, the pantheon of ancient alien entities, such as Cthulhu and Azathoth, and eldritch places, such as the New England town of Arkham and its Miskatonic University – for use in their own works with Lovecraft’s encouragement.

The Dunwich Horror

 

After Lovecraft’s death, the Lovecraft Circle carried on. August Derleth in particular added to and expanded on Lovecraft’s vision. However, Derleth’s contributions have been controversial. While Lovecraft never considered his pantheon of alien gods more than a mere plot device, Derleth created an entire cosmology, complete with a war between the good Elder Gods and the evil Outer Gods, such as Cthulhu and his ilk.

Lovecraft’s writing, particularly the so-called Cthulhu Mythos, has influenced fiction authors including modern horror and fantasy writers. Stephen King, Ramsey Campbell, Bentley Little, Joe R. Lansdale, Alan Moore, Junji Ito, F. Paul Wilson, Brian LumleyCaitlín R. Kiernan, William S. Burroughs, and Neil Gaiman, have cited Lovecraft as one of their primary influences. Beyond direct adaptation, Lovecraft and his stories have had a profound impact on popular culture.

H-P-Lovecraft-album

Lovecraft’s fictional Mythos has influenced a number of musicians. The psychedelic rock band H. P. Lovecraft released the albums H. P. Lovecraft and H. P. Lovecraft II in 1967 and 1968 respectively; their titles included “The White Ship”. Metallica recorded a song inspired by “The Call of Cthulhu”, an instrumental titled “The Call of Ktulu”, and another song based on The Shadow Over Innsmouth titled “The Thing That Should Not Be”, and another based on Frank Belknap Long‘s “The Hounds of Tindalos“, titled “All Nightmare Long“. Black Sabbath‘s “Behind the Wall of Sleep” appeared on their 1970 debut album and is based on Lovecraft’s short story “Beyond the Wall of Sleep”. The Darkest of the Hillside Thickets entire repertoire is Lovecraft-based. Melodic death metal band The Black Dahlia Murder produced “Throne of Lunacy” and “Thy Horror Cosmic” based on the Cthulhu Mythos. Progressive metal band Dream Theater‘s song “The Dark Eternal Night” is based on Lovecraft’s story “Nyarlathotep“. UK anarcho-punk band Rudimentary Penimake repeated references in their song titles, lyrics and artwork, including in the album Cacophony, all 30 songs of which are inspired by the life and writings of Lovecraft. In the Iron Maiden album Live After Death, the band mascot, Eddie, is rising from a grave inscribed with the name “H. P. Lovecraft” and a quotation from The Nameless City: “That is not dead which can eternal lie yet with strange aeons even death may die.” German metal group Mekong Delta made an album called The Music of Erich Zann.

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Lovecraft has also influenced gaming. Chaosium‘s role-playing game Call of Cthulhu (currently in its seventh major edition) has been in print for 30 years. The board games Arkham Horror, Eldritch Horror, and dice game Elder Sign are derived from mechanisms first introduced in the Call of Cthulhu RPG. Two collectible card games are Mythos and Call of Cthulhu, the Living Card Game. Several video games are based on or influenced heavily by Lovecraft such as Call of Cthulhu: Dark Corners of the Earth, Quest for Glory IV: Shadows of Darkness, Shadow of the Comet, Prisoner of Ice, Shadowman, Alone in the Dark, Chzo Mythos, Eternal Darkness: Sanity’s Requiem, Cthulhu Saves the World, Sherlock Holmes: The Awakened, Amnesia: The Dark Descent, Amnesia: A Machine For Pigs, Castlevania: Symphony of the Night, Bloodborne, Dead Space, Terraria, Splatterhouse,Darkness Within: In Pursuit of Loath Nolder, Darkness Within 2: The Dark Lineage, Penumbra, Blood, The Last Door and Quake.

arkham horror dunwich horror expansion game

For most of the 20th century, the definitive editions (specifically At the Mountains of Madness and Other Novels, Dagon and Other Macabre Tales, The Dunwich Horror and Others, and The Horror in the Museum and Other Revisions) of his prose fiction were published by Arkham House, a publisher originally started with the intent of publishing the work of Lovecraft, but which has since published a considerable amount of other literature as well.

Penguin Classics has at present issued three volumes of Lovecraft’s works: The Call of Cthulhu and Other Weird Stories, The Thing on the Doorstep and Other Weird Stories, and most recently The Dreams in the Witch House and Other Weird Stories.

 

Films based upon Lovecraft’s work include:

The Haunted Palace (1963)

Die, Monster, Die! (1965)

die_monster_die_poster_artwork by Reynold Brown

The Shuttered Room (1967)

The Dunwich Horror (1969)

dunwich horror soundtrack les baxter

Re-Animator (1985)

re-animator-japanese-poster

From Beyond (1986)

from-beyond-great-poster

The Curse (1987)

The-Curse-Curse-2-The-Bite-Blu-ray-Scream-Factory

The Unnamable (1988)

THE UNNAMABLE

Dark Heritage (1989)

Cast a Deadly Spell (1991)

The Resurrected (1992)

The Unnamable II: The Statement of Randolph Carter (1993)

In the Mouth of Madness (1994)

Necronomicon (1993)

Necronomicon

The Lurking Fear (1994)

Witch Hunt (1994)

Castle Freak (1995)

castle freak

Bleeders (1997)

Out of Mind: The Stories of H.P. Lovecraft (1998)

Cool Air (1999)

Cthulhu (2000)

Dagon (2001)

dagon_stuart_gordon

Alone in the Dark (2005)

The Call of Cthulhu (2005)

H. P. Lovecraft’s Dreams in the Witch-House (2005)

Cthulhu (2007)

The Tomb (2007)

Chill (2007)

The Whisperer in Darkness (2011)

Call Girl of Cthulhu (2015)

call-girl-of-cthulhu-poster

Wikipedia


Swiss Army Man (2016)

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Swiss Army Man is a 2016 American surrealist dark comedy written and directed by Dan Kwan and Daniel Scheinert. It stars Daniel Radcliffe (The Woman in Black; Horns; Victor Frankenstein), Mary Elizabeth Winstead and Paul Dano.

The film premiered at the Sundance Film Festival on January 22, 2016 and is released in the US on June 24, 2016, by A24.

Swiss-Army-Man-Daniel-Radcliffe

Plot:

Hank, a man at the verge of his suicide and marooned on an island, finds a corpse washed up on the beach and engages a surreal relationship with the dead body…

Reviews:

“It’s entirely to the directors and the two lead actors’ credit that what sounds like a bunch of overextended body humor gags of the most juvenile variety evolve, by sheer repetitious attrition, into something bizarrely poetic and strangely touching. It certainly won’t be to everyone’s taste, and the reliance on flashbacks and repeated shots conspire at times to make this feel like an attenuated short.” Leslie Felperin, The Hollywood Reporter

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“I could never prep you enough for the degree to which farting plays a pivotal role in Swiss Army Man. In addition to its plot contrivance (it’s the gas that keeps these lost men on their voyage) the taboo of passing wind (as well as masturbation) becomes the central metaphor for the need to be true to oneself. It’s coarse and it’s stupid, but it is, thanks mostly the two good performances and some stylish use of music and editing, a little bit moving. Profound gas, indeed.” Jordan Hoffman, The Guardian

Cast and characters:

Wikipedia | IMDb | Official site

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