THE HOUSE THAT JACK BUILT is the latest film from auteur filmmaker Lars Von Trier (Antichrist) and is a sucker punch to the face that never lets up throughout the 2+ hour runtime. The film stars Matt Dillon (Wild Things), Bruno Ganz (The Reader), Uma Thurman (Pulp Fiction), Siobhan Fallon Hogan (Men in Black), Sofie Gråbøl (The Killing), and Riley Keough (Mad Max: Fury Road).
Fitting that writer director Justin McConnell’s fourth feature length film LIFECHANGER is a product of Canada, the northern neighbor of Hollywood that gave us decades of body horror thanks to David Cronenberg. After all, McConnell’s latest film that premiered this past July at FantasiaFest is first and foremost a tip of the hat to the genre, burrowing itself into the frontal lobe like a bullet. It’s a genre that, as of late, has been gnawing its way through film with Leigh Whannell’s Upgrade implanting a heavy-dose of awesome into our cerebral cortex as well as Venom’s uh, uneven yet intoxicating bite taking hold of Tom Hardy fans everywhere.
Most people in the horror community would rather think of Christmas as second Halloween. A lot of us get through the holiday by watching Christmas horror movies to get by. So many good ones have been released this Christmas season: Anna and the Apocalypse, I’m Dreaming of a White Doomsday and Slay Belles to name a few. Among those titles is a new sequel to the 2017 film The Elf, called ELVES. I watched it with the hope that it would take away those Christmas blues and unfortunately, it just created more.
The holidays bring up a plethora of emotional changes and none can really hold a candle to the mood swings some of us encounter during the Christmas holiday season. What is more horrifying than dealing with the end of the year, existential pressure, and dealing with the baggage of family? With so much inspiration to pull from the stress inducing holiday season, it is no surprise to see Hulu’s new horror anthology series INTO THE DARK tackle Christmas in the oddly pleasing episodic film POOKA!
ALL THE CREATURES WERE STIRRING, a horror anthology from directors David and Rebekah McKendry, merges both horror and comedy, along with the Christmas spirit, in a way that I haven't seen. The film stars Graham Skipper (Beyond the Gates), Ashley Clements (“The Lizzie Bennet Diaries”), Jocelin Donahue (The House of the Devil), Amanda Fuller (Fashionista), Constance Wu (“Fresh Off the Boat”), and Jonathan Kite (“2 Broke Girls”).
If you’re familiar with the Southern California goth subculture, you’ve probably encountered Spooky Dan Walker; even if you’re not, you’ve probably seen his handiwork in at least a couple movies, as he’s been working in special effects since 1998. His first foray into writing and directing is SLAY BELLES, which he wrote with Jessica Luhrssen.
I rarely can encapsulate a review in just two words, but today is an exception- neon nightmare. I have never spent a film viewing fantasizing over the idea of the projector breaking, releasing the audience from a torture almost equal in measure to the one inflicted upon the patients of DR. CALIGARI.
I had high hopes for BLOODY BALLET after watching the opening scene and the subsequent credit sequence — the opening score and the color palette deliver dashes of synth beats and neon lighting a la The Strangers: Prey At Night that I am simply just a sucker for. Unfortunately, BLOODY BALLET decides that it doesn’t want to fall under the category of a straightforward slasher film. Normally that would be just fine, but BLOODY BALLET bounces around without true intention, making for a disappointing, disorientating viewing.
I hadn’t been to a Terror Tuesday at Alamo in a while, due to the fact that for the past three months I have signed myself up for a ridiculous amount of work, and at times it was physically impossible for me to be in two to three places at once, unfortunately. Not to mention a ridiculous cold that went around the city like wildfire, but what better film to return to Alamo to than David Cronenberg’s 1988 weirdo-twin movie, DEAD RINGERS.