When I started watching all the zombie films I could get my hands, I stumbled into the realm of Nazi zombies, a.k.a. Nazisploitation. I started with Zombie Lake (which looked great but is not a good film) and then I watched Oasis Of The Zombies (I’m thankful I didn’t slit my wrists during that viewing). Needless to say, when Shock Waves came into my hands I looked away, rolled my eyes, and took a step back. After a year or so, I finally gave it a shot because I found out Ken Wiederhorn directed it and I loved Return Of The Living Dead Part 2, Meatballs 2, Eyes Of A Stranger, and a lesser-known film called Dark Tower.
People say the 1990s was the worst decade for horror films. I wouldn’t use the word “worst,” but I will say out of all the recent decades it wasn’t the strongest. Calling it the worst just makes it sound like all the films from that decade are terrible, but ‘90s horror is special to me. I love it and I always will.
If you’ve seen The Road or Season Four of The Walking Dead, you’ve seen more artfully realized versions of the film Refuge. I know that sounds harsh, but it’s the truth.
Andrew Robertson’s film peeks into the lives of some of the survivors of a bacterial plague that has wiped out much of humanity. Unfortunately, we find this out in a post-credits montage that is reminiscent of 28 Days Later or The Bay but not as clever. In fact, we’ve all seen so many zombie/post-apocalypse movies at this point it would have been more compelling to just show that kind of footage without explaining what actually happened. It would have given the movie a much-needed bit of creepy mystery.
Why Horror? is for every person who’s been mocked for loving everything encompassed within horror film fandom. Horror writer and hardcore fan Tal Zimerman is the subject of this documentary from Nicholas Kleiman and Rob Lindsay that explores why people are drawn to one of the more maligned, misunderstood genres in popular culture.
Most of the movies screened at the Knoxville Horror Film Fest are now available for either VOD rental or disc purchase. They weren’t at the time, though; technology moves quickly, and so does consumable product. Here’s a quick rundown of what was shown, with a humbly presented opinion on each.
The ABCs of Death was a worthy, if not always satisfying, exercise in horror anthologies (review). In some ways, it’s more ambitious than the V/H/S series; trying to fit in 26 films by 26 directors is a challenge, especially when the only common theme is death. While I quite liked the first installment, I think The ABCs of Death 2 is in many ways a better film.
Stuart Gordon was one of the first directors I fell in love with. It started when I saw Robot Jox and then continued from there. Gordon’s films have had a huge impact on the horror industry and he still rocks people to this day. He hit it big with Re-Animator and From Beyond at the start of his career and pretty much everything that followed is considered a classic and loved by almost every horror fan. With Re-Animator and From Beyond we have films that blend sci-fi and horror, but both tell ambitious stories. I’ve always thought that Stuart Gordon was diverse because of his multiple styles, as seen in films like Space Truckers, Fortress, and of course, Dolls.
Yay! Another pregnancy devil movie! In the past couple of years these kinds of films are blowing up but they all do the exact same thing. I was a little apprehensive about checking out Delivery: The Beast Within because I’m kind of bored with the routine.
Aldo Lado has made some intense films in his day, including Short Night Of Glass Dolls, Who Saw Her Die?, The Humanoid, and Night Train Murders. Lado’s films look incredible: he has a great eye for using just the right amount of light in his shots, always giving a heavy, giallo, neo-noir look to his films.
By Jeffery X Martin
Photos by Hannah Martin
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don’t understand. Internal is the human heart.
They stare at us as they leave, that smug crowd of assholes leaving the theater. Art movie snobs, still dabbing away tears caused by The Hundred-Foot Journey, the white guy with the neckbeard talking out of the side of his mouth to his Asian-American girlfriend about how he is so far above the real message of Dear White People that he didn’t actually like the movie, but it’s OK.