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.
Hot & Saucy Pizza Girls has taught me two things: Bob Chinn is a great porno director and Desireé Cousteau exists and she is gorgeous.
Vinegar Syndrome knocks it out of the park with their vintage hardcore pornography line because they are releasing some truly interesting films. Yes, it is porn (like I always say), but the stories behind them are tremendously captivating.
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.
Now film fans have another name to add to the list of cinematic creepers: Nightcrawler‘s Lou Bloom. He’s got Travis Bickle’s lack of self-awareness and Barry Champlain’s self-aggrandizing thirst for success, and he oozes ad copy-inspired monologues like Patrick Bateman. But who is Lou Bloom?
By Hanna
With Lynsey de Paul having passed away and Noosha Fox now running a restaurant, we only have Suzi Quatro to keep the flame of female Anglo glamrock alive, and I can think of no one who deserves to be its queen more than her. For all the acknowledgement that mainstream music criticism has given her, acknowledgement which is so often denied to female artists, she barely seems to care that she has it. In Performing Glam Rock, Philip Auslander’s analysis of her subversion of the authenticity and masculinity of rock in both her gender performance and musical performance seemed almost too good to be true to me the first time I read it, and difficult to parse based on the German TV performances I knew of her. Only now, after hearing The Girl From Detroit City, do I realize that she’s really even beyond what he describes.
By Tyler Hodg
Not only is school out, but so is the latest offering from director and massive metal head Sam Dunn (Metal: A Headbanger’s Journey, Global Metal). His new film, Super Duper Alice Cooper documents the rise to fame of Vincent Furnier—better known as Alice Cooper—and the fall from grace that saw him hitting absolute rock bottom. Unapologetic and honest, Super Duper Alice Cooper painfully recollects the trials and tribulations of one of the most notorious bad boys in rock’n’roll, as well as the band that helped transform him into the character that everyone came to know.
Hillbilly Horror Show Vol. 1 was created and curated by award-winning writer and producer Blu de Golyer (House Of Good And Evil) and veteran actor and producer Bo Keister (Remember The Titans). This one-hour collection of horror shorts is strung together by not so funny hillbilly humor from characters Bo (grubby bumpkin leader reliant on bathroom humor), Cephus (mumbling counterfeit of King of the Hill‘s Boomhauer), and sister/cousin Lulu (provider of the daily recommended amount of T&A). It just doesn’t compare with the fun factor of horror hosts like Elvira and Svengoolie. The attempt to change the usual horror format presentation is clever, but the lowbrow humor falls flat, flatter than the roadkill Lulu cooks up for dinner. Perhaps if they amped up the redneck skeezy sleaze factor a bit more it might be a successful execution of concept.
The first short, “Franky & the Ant,” is a throwaway copy of a Tarantino-sque scene and has an ethically questionable duo participating in a mundane conversation as they complete their violence. The rest of the shorts are definitely worth a watch, though. “Doppelganger” gave me a chuckle and had gorgeous stop action photography of a skeleton on an arduous journey, but could have edited a minute from the piece, even though it’s only a short. “Amused” is an interesting concept with fresh camera angles, great foley work, and a bit of gore. I can’t say I was shocked by the ending (though many will be), but it was nice to see a strong female making at least one smart choice in a horror piece.
The best was saved for last in “The Nest” which has a uniquely twisted storyline, is well shot and acted, and is at least as good, if not better, than anything shown on Tales From the Crypt or Tales From the Darkside.
Volumes 2 and 3 will be released in 2015 and will feature gag reels and added footage in addition to the featured horror shorts.
Hillbilly Horror Show Vol. 1 was released by MVD Entertainment Group on October 21.
Former Gomez singer and guitarist Ben Ottewell has the kind of voice that one struggles to find descriptors of. It’s like an old blues singer sitting on a front porch, like a drunken businessman wearing a suit made of sandpaper, like the honk of a deranged goose (but in a good way). His voice is distinctive and unusual and quite fantastic. As a guitarist, he is solid and makes interesting choices. He’s got a way with melody, too.
The Knoxville Horror Film Fest screened 28 short films this year. Here are mini-reviews of all of them.