There are many words that can describe Virginia Obscura, but some of those words might give away the surprise. Virginia Obscura is one of the films Full Moon Streaming picked up for their new horror VOD service. It is a beautiful thing that they are doing and it even helps give chances to indie horror.
Indie films hardly stand a chance against mainstream films and even more so in the horror genre. Indie horror films are getting more popular these days, but big studio films still overrun them. It’s even worse when indie horror is released through a smaller distribution label and is only available to purchase online and not on Netflix or Amazon. Midnight Releasing is one of those companies who seems to have difficulty getting their name out there, but that is why we are here.
Films like Armynel and many others need to be discussed because they never get a good start when you can’t find them in Wal-Mart or other stores or unless you happen upon a used copy. Even the chances of that are slim because hardly anyone buys these films in the first place. That doesn’t mean these movies are bad or anything, it’s just that they don’t have near the amount of coverage as most mainstream horror.
Ruggero Deodato is one of the most underrated directors and it dumbfounds me. Most people know of Cannibal Holocaust and they may know Deodato directed it, but he has done so much more and made some amazing films aside from that gorefest.
Along with gems like House on the Edge of the Park, Cut and Run, The Washing Machine, Body Count, and The Barbarians, Deodato made a victorious effort with the unforgettable “buddy apocalyptic” film The Raiders Of Atlantis. Yeah, I said buddy apocalyptic film.
Bat shit crazy. Those are the three words that sum up The Visitor most easily.
Drafthouse Films has brought us some fantastic films over the course of the last couple of years: Bullhead, Klown, The Act Of Killing, I Declare War, and many others. They also are dipping into older films that are “lost” or just need a better release such as Miami Connection, Wake In Fright, Ms. 45, and most recently, The Visitor.
A lot of filmmakers think that they can get away with putting an older horror film actor in their movie for five minutes and then slap them on the front cover as if they are the lead in the film. Trust me, we all know this trick by now and we don’t fall for it. This happens every Tuesday when new films come out and sadly, we quickly dismiss films like this. It seems they rely solely on getting an older horror actor in order to sell the movie because without a name attached to it, it won’t go anywhere.
Dead Of The Nite isn’t a bad film but it is quite uneventful to say the least. Tony Todd is, of course, on the cover but is only in the film for a brief time. He is actually the best part of the movie.
There are a good number of horror icons so it’s extremely difficult to start a new one. Freddy, Jason, Chucky, Michael, Pinhead, Leatherface, Ghostface, The Tall Man, and a few others are some of the most popular. Aside from Scream and Hatchet we don’t have many newcomers to the horror icon family.
Hayride is a slasher that has erupted from the mind of Terron Parsons who is hoping his new horror icon will catch on. Pitchfork is his name and killing is his . . . I’m not going there and I don’t even know why I attempted that. Sorry. Anyway, Hayride takes us on a journey and gives us an explanation of Pitchfork.
What do you say about a film that is a landmark success in another country that you disliked? Well, I’m not exactly sure but I’m going to give it a shot.
There’s a delightful ramshackle quality to the newest album by Holly Golightly & The Brokeoffs. All Her Fault has a spontaneous, lively sound, and wickedly witty lyrics. It’s the kind of album that is not only instantly engaging, but also gets better with each listen.
Morning Phase, Beck’s newest album and his first on Capitol Records, has been described as a companion piece to 2002′s Sea Change. Since I hadn’t heard Sea Change in a while, I thought I’d compare the two albums. What I discovered surprised me.
Present Tense, the latest album from Wild Beasts, is like the feeling of holding your breath and fighting back tears while watching an emotionally distressing movie in a quiet theater. You want to give in to your emotions, but the strain has a profoundly exquisite painfulness. Present Tense is darker and more somber than the band’s previous two albums and features far less florid prose. This doesn’t mean the lyrics are any less insightful; it simply means listeners must work harder to decipher them and reveal the beauty within. There’s nothing that’s not beautiful about Present Tense, even when it paints unpleasant portraits.