For those who are enamoured with the high octane fantasy of Conan but wish there were a few more sassy talking clouds, Adventure Time has filled that gap perfectly. Despite the animated TV series announcing an official end in 2018, there are plenty of adventures still left, and the creators have recently announced a new mini-series entitled Elements which comes with its own unique opening song.
We’ve said it before and I’m sure it’s worth repeating – it’s hard to keep up with the number of projects seeking crowd-sourced financial backing, and it can be even harder to know which ones to help promote and which ones to leave aside. It gets to a point of saturation where it’s easier to just chuck a few quid at the ones you like best and leave it at that.
However, sometimes projects come along that you really do have to shout about, and this is one of those, if you ask me. The official documentary about the life and career of legendary actress, performer and all-round force of nature Tura Satana is seeking the funds to complete production. The documentary had Satana’s blessing before she passed away in 2011, and the people behind the production include her long-time manager Siouxzan Perry and director Cody Jarrett, who directed Satana in her final film role as an actress. The film has already secured an impressive array of talking heads, including John Waters, Dita Von Teese and the late, great Ted V. Mikels, and is offering a range of cool perks to those who help back the film, from art prints to actual items from Satana’s wardrobe (!).
It’s entirely logical that pregnancy has been a recurring theme in so much horror, particularly at the more grotesque end of the spectrum. As much as some of us might like to herald it as a beautiful and miraculous thing, we all know that for most women it will result in nausea, pain, exhaustion, emotional and physical distress, not to mention the fact that in many instances the lucky lady in question might not have even wanted to become a mother in first place. Absolutely, a pregnant woman can see herself as engaging in the greatest act of creation she will ever undertake – but she might just as easily see herself as the host to a parasite, and it’s hard to fault that logic.
Am I danger of being burnt at the stake for mansplaining here? Perhaps, but given that Antibirth is the brainchild (sort-of pun sort-of intended) of male writer-director Danny Perez, I feel like I should be safe given my Y-chromosome-enabled point of view on the matter. For what it’s worth I’m also a father and was present at the birth of both my children, so I do have some hands-on experience with pregnancy, in all its wonder and its ugliness. You might not be surprised to hear that it’s the ugly side which Antibirth takes the most interest in.
By Marc Lissenburg
Sleep deprivation aside, I prefer a clear head when treating my senses to horror based cinematic pleasures. Conversely, I personally find that my other passion, heavy-as-hell metal, is often better savoured while somewhat imnebriated. With this in mind, I’ve often pondered the curious instances whereby these two leisurely pursuits collide, pitching staunch sobriety against medicated blissfulness.
My disclosing ramble basically alludes to the fun that can be had with trying to identify the sound-bytes of sampled dialogue from our beloved horror genre that are cunningly interwoven into the heaviest music on the planet. This endeavour does have a varying scale of complexity, however. Whereas on one end of the scale, Regan McNeil’s profane howls are the proverbial no-brainer, the other end of the spectrum contains dialogue from flicks whose degree of obscurity make it down right infuriating to identify!
Back in our Brutal As Hell days, co-editor Keri O’Shea and myself would from time to time forego the conventional review approach in favour of a one-on-one discussion. This is an approach we’ve often favoured when the film in question was already the subject of widespread debate, which it seems fair to say has been the case with the film we’ve chosen to discuss here, in our first such conversation since relaunching as Warped Perspective. The debut feature from writer-director Jordan Peele but the latest in a very long line of mainstream genre releases from production company Blumhouse, Get Out is easily the most widely praised horror film of 2017 thus far, whilst also being the most commercially successful; two things which do not necessarily coincide most of the time. Naturally this was enough to get both of us interested – and happily, neither of us came out disappointed.
Hopefully as it’s already been out upwards of a week, a good many readers will have already seen the film, but we’re not making any assumptions there, so I will forewarn you that we do get heavily into spoilers early into the discussion – if in doubt, don’t read beyond the warning below…
More than 35 years on, The Evil Dead remains as beloved and influential as ever, ranking alongside Night of the Living Dead, The Texas Chain Saw Massacre, Halloween and The Blair Witch Project as one of the most endlessly ripped-off horror movies of all time (that list is by no means exhaustive, by the way). Of course, Sam Raimi’s feature debut
ranks not only as a perennial genre classic, but also as one of the key video nasties, so given contemporary indie horror’s fascination with revisiting the VHS era, it seems timely for a low-budget film to emerge with designs on directly recapturing that spirit.
As we can rather easily ascertain from its alternate title The Japanese Evil Dead, writer/director/actor Shinichi Fukazawa’s Bloody Muscle Bodybuilder in Hell is modelled so closely on The Evil Dead that it seems just as much a remake as Fede Alvarez’s 2013 Evil Dead was; indeed, it’s considerably closer to Raimi’s film in tone, content and most notably visual aesthetics. And given that this new DVD from Terracotta (released under their Terror Cotta imprint) boasts artwork from none other than Graham Humphreys, the iconic artist behind the classic Evil Dead VHS cover, Fukazawa’s film is very much being sold on that link. The key question, then, is whether we can regard Bloody Muscle Bodybuilder in Hell as a notable new addition to the horror canon, or essentially a fan film done good.
The Golden Age of comic horror illustration (i.e. 1950s-70s) has just recently lost another monster of the pen, Bernie Wrightson, at the age of 68. Most famously known for creating Swamp Thing with writer Len Wein, his career just passed the fifty year mark and includes work for comics, books, magazines, and newspapers. He has worked for both Marvel and DC including a solid line-up with most major companies of the present and past. While his death may mark the passing of a man, his iconic artwork will remember him as a creator and an artist.
Zombie Lake opens with a bit of a fib: there is no director by the name of ‘J.A. Laser’, and the pseudonym conceals the fact that the film was actually directed by Jean Rollin, who is of course better known for rather more artistic fare. It turns out that Zombie Lake had a bit of a troubled birth, with the original director, Jess Franco, quitting the project before it began. It then fell to Rollin to take up the reins, but by all accounts he was so mortified by the script that he decided to disguise the fact that he’d had anything to do with it. To be fair, though, misgivings about the script don’t excuse some of the ridiculous errors that occur throughout on Rollin’s watch, but somehow, this is all part of the full Zombie Lake experience.
The mighty Dead by Dawn festival, the UK’s longest-running horror festival, based in Edinburgh, takes place this year at Edinburgh Filmhouse April 20-23rd. They’re just announced their line-up and it’s a tantalising mix of brand new films, classics and a whopping 7 short film strands. They open with the UK premiere of The Evil Within (a film which has had some attention this week), and closes with a midnight screening of Gillespie and Kostanski’s The Void. The festival will also be featuring acclaimed new films Without Name and Always Shine, as well as a number of UK premieres. Dead by Dawn also boasts a very special screening of Arrow Video’s brand new 4K restoration of Dario Argento’s Phenomena. Other classics include a Cronenberg double-bill of The Dead Zone and Scanners, a Vincent Price strand and, much to editor Ben’s approval I’m sure, a ‘double-Dekker’ of House and The Moster Squad.