Friday, 29 November 2019

Lisa [Rabid Dog’s House]


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Wicked Horror is the author of Lisa [Rabid Dog’s House]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The Rabid Dog’s House is a recurring feature at Wicked Horror where contributor Justin Steele uncovers hidden gems, lost classics, and overlooked indie offerings. Flying solo or with the occasional guest, he will discuss an array of topics covering film, literature, and television. Check out the latest installment below. In this episode we’re looking back at 1989’s Lisa! Released briefly in 1989 and then directly to video in 1990, Lisa (Staci Keanan) is a young girl living with her single mother (Cheryl Ladd). Her mother is overprotective, so Lisa enjoys spending her time with her best friend (Tanya Fenmore) scoping out cute fellas. The two teens note the guy’s licence plate and track down his phone number. Unfortunately, Lisa’s latest object of desire is a serial murderer known as the Candlelight Killer. Check Out: Scream for Help [Rabid Dog’s House] Join Justin and Zena Dixon as they discuss this staple of Lifetime below!

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Wednesday, 27 November 2019

The Driver Crashes and Burns [DVD Review]


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Wicked Horror is the author of The Driver Crashes and Burns [DVD Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The Driver is a Mark Dacascos vehicle (pun intended) in which he plays an unnamed hitman trying to keep his daughter Bree (Mark’s real life daughter Noelani Dacascos) alive during the zombie apocalypse. The elder Dacascos is excellent in the role, bringing the same humor and warmth that he brings in all of his roles. Unfortunately, the rest of the film doesn’t make it up Dacascos’s level.  The Driver opens with Dacascos’s titular character and his partner Joe (Jeremy Stutes) driving a blue BMW with a soon-to-be exile in the trunk. The person bouncing around back there was caught stealing water in their community for the third and final time. When they release him, Joe gives the exile an option: they could put a bullet in his head or he could try his luck on the zombie-infested outside. The exile elects the latter, but Joe fires a few shots in the air before he and the driver swing the BMW back toward civilization. The zombies are quick to converge.  If anything separates the zombies of this world from others, it’s their attraction to sound. They flock to it, running rather than shambling. They are sparsely made-up. They’re very pale, but lack the walking wounds that other modern zombie media has spoiled us with.  There’s tension in their community when the Driver and Joe get back, and while the film spends a while showing that tension bubbling, the community is overrun before the end of the first act. The driver and his daughter escape in that beautiful blue BMW, and the driver tries to teach her the skills she needs to survive as they search for the mythical city Haven. It shares emotional DNA with Martin Freeman-starring Cargo and Arnold Schwarzenegger-starring Maggie. They all use zombies as a metaphor for the dangers in the world that fathers are trying to prepare their children for.  A large chunk of this film is in that car, focusing on the Driver’s conversations with Bree. It likely cuts down the budget of the film, but it leads to visual stagnation. Think Locke without a performance as strong as Tom Hardy’s.  The frame also leads to questions about what they were doing before. The Driver is fairly cynical, complaining that, “The dead went after good people and left us with a******s” and observing, “One thing the old never lacked was guns and ammo.” He’s paranoid enough that he’s made sure every member of his family has a go-bag in case something happens in their settlement. Yet, in these car scenes he teaches his daughter to shoot a gun for the first time. It appears that despite being in the zombie apocalypse for years, she’s never used a gun before. It’s a sweet idea, a father passing his knowledge onto his daughter, but in an apocalypse that’s been going on this long, it’s hard to believe that he hasn’t thought to do this sooner.  There’s also the issue of acting. Mark Dacascos is excellent. He’s funny, and tender. When it’s time for a fight scene, he’s believable. The same isn’t true of nearly anyone else in the cast. They aren’t up to his level, delivering lines awkwardly. Director Wych Kaosayananda (who also directed Ballistic: Ecks vs. Sever) puts a lot of the emotional weight of the film on Noelani Dacascos, which she may not be ready to carry at this point in her career.  The dialogue also does the actors no favors. It’s intentionally cheesy. The Driver has some gems in his voice over, “I used to kill people for a living. Now I kill the dead to live” and in dialogue, “Load up the clip like it’s Pez Candy.” The elder Dacascos delivers the lines with a gravity that makes them exciting action movie moments. No one else in the cast breathes the same life into them, making the lines come off as lame. The action choreography is a bright spot, though. Mark Dacascos is a martial artist who brings a palpable intensity to each of his physical altercations. He’s convincing shooting guns as well. Beyond his performance, the other fights are exciting. It’s not as intense as the recent fight-heavy Train to Busan, but that’s not what The Driver is going for. Kaosayananda’s action is as over-the-top as the dialogue, but seeing people do backflips while they explode is a better fit for this film. RELATED: Blu-Ray Review – Train to Busan Keeps the Zombie Genre Alive (Undead?)  The Driver has a great premise and a great lead, but Mark Dacascos isn’t enough to make this film work.  The DVD comes with a 13 minute “Making of The Driver” and a trailer gallery.  Wicked Rating – 4/10 Director: Wych KaosayanandaWriters: Steve Poirier, Wych KaosayanandaStars: Mark Dacascos, Julie Condra, Noelani DacoscosRelease Date: November 26, 2019 (On Demand and DVD) Studio/Production Company: Kaos EntertainmentLanguage: EnglishRun-Time: 97 minutesSubgenre: Zombie, Action Follow us on social media: Twitter | Facebook | Instagram | Youtube

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Tuesday, 26 November 2019

Actor Graham Skipper Talks Bliss [Frightfest 2019 Interview]


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Wicked Horror is the author of Actor Graham Skipper Talks Bliss [Frightfest 2019 Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Graham Skipper is one of the best actors working in horror nowadays, who, in the midst of his busy career also managed to direct his own startlingly assured debut, Sequence Break. Skipper’s ongoing partnership with writer-director Joe Begos continues to bear the strangest, and most fascinating fruit, too. Following on from Almost Human and The Mind’s Eye, both scrappy sci-fi movies, Bliss is a swift turn from what we know of these two hugely talented lads. To be clear, the actor isn’t front and center this time around, instead showing up in a supporting role as a drug dealer with the coolest mutton chops ever committed to celluloid. Skipper isn’t the focus of Bliss, but he’s an important component, providing our anti-heroine, Dezzy (a revelatory Dora Madison), with the titular mind-bending substance. Also, his name is Hadrian. Just let that sink in for a second; a drug dealer with mutton chops called Hadrian. Related: Bliss [Frightfest 2019 Review] Bliss is one of the best horror movies of 2019, no question; a wild, weird, gory, and utterly hypnotic ride that takes in references to everything from Near Dark to The Lost Boys to Queen of the Damned. It’s a vampire movie, a drug movie, and a movie about the creative process, but it’s also fiercely feminist, unflinchingly brutal, and stunningly shot to within an inch of its life. Bliss is Begos’s calling card and it makes me insanely excited for what he’s going to do next, but it’s yet another example of Skipper’s abilities too, even when he’s a background player. The Frightfest synopsis pointed to the movie’s innate uniqueness: FrightFest showcased his Almost Human and The Mind’s Eye and now Joe Begos, the quirkiest director on the independent horror scene, is back with a zeitgeisty, fresh and thrilling trip into terror. A brilliant painter facing the worst creative block of her life turns to anything she can to complete her masterpiece and recklessly indulges in a series of drug binges. As the narcotics fly out of control and spiral into a hallucinatory hell-scape of highs, lows, sex, and murder in the sleazy underbelly of Los Angeles, so does her newfound, and inexplicable, yet unquenchable craving for blood. Written and directed by Begos, Bliss stars Madison, Skipper, fellow horror hero Jeremy Gardner (The Battery), and Dru Collins and Rhys Wakefield as a couple of the coolest vampires in town. At just 80 minutes, it doesn’t waste a second of screen time and was shot on glorious 16 mm to give it a gorgeously grainy texture. Seriously, seek it out. You won’t be disappointed. See Also: Director Joe Begos Talks Bliss [Frightfest 2019 Interview] Wicked Horror nabbed Skipper on the red carpet at Frightfest 2019 mostly to discuss those all-important mutton chops. Check it out below. Interview conducted by: Joey Keogh Camera: Richard Waters Editing: Richard Waters

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Monday, 25 November 2019

Antrum: The Deadliest Film Ever Made [Review]


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Wicked Horror is the author of Antrum: The Deadliest Film Ever Made [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

If, for some reason, there was a screening of the cursed film from Ringu, or its American remake, The Ring, would you go and watch it? Antrum: The Deadliest Film Ever Made posits that you would and, moreover, the filmmakers take the choice out of viewers’ hands by foisting the supposed cursed film upon them about ten minutes into the feature. I watch, essentially, nothing but horror and, reader, I was shook. When the time came to actually experience Antrum itself, I hesitated, pausing for a moment to take a quick glance at t’internets and ensure other critics had seen it and lived to tell the tale. I make this point not to showcase how gullible I am, or to call upon the vengeance of evil spirits, Final Destination-style, to take me now (though, if I did die as a result of watching a cursed movie, it’d be entirely fitting) but to emphasize the power of this incredibly effective film. Related: The Fare is a Captivating Thriller With a Delightful Twist [Review] Antrum kicks off mockumentary-style, with a variety of genre-specific talking heads (predominantly male and white, annoyingly) discussing this supposed cursed film, its ability to doom the select few who have actually had the opportunity to watch it, and the tortured history of its production. Aside from being very cleverly done, and hugely convincing, this section is well-presented (the subtitles recall the classic Halloween font), genuinely interesting, and, crucially, it builds some serious tension surrounding the film. The story then abruptly switches gears as it’s revealed we are about to watch Antrum. A warning pops up onscreen, a waiver of sorts, which puts the responsibility for whatever happens next on the viewer rather than the filmmakers themselves. What’s come before is so convincing that it does give one pause. Thankfully, the film that follows is more than worthy of the hyperbolic introduction; a chilly, disconcerting seventies throwback with touches of Don’t Look Now, Texas Chain Saw Massacre, and, obviously, The Wicker Man. The film stock is grainy and sun-drenched, while the period detailing on the two protagonists (a brother and sister who are enthusiastically digging a hole to hell in the forest so they can see their beloved dead dog again) is spot on. There isn’t a dodgy moment in sight, either to give away that this isn’t actually a cursed film from a bygone era, lost to the sands of time, or even that it was made recently. Irish viewers will get a kick out of how Antrim is a lovely place up north where, funnily enough, this could’ve been filmed given the lush surrounding countryside. That’s not to say Antrim still looks like it’s stuck in the 1970s, but…you know. The forest itself is a terrific setting, both cozy and familiar yet simultaneously labyrinthine and impossible to decipher. The kids play make believe while the camera slowly zooms out to reveal a decaying body, consistently emphasizing the juxtaposition between the beauty and horror of nature. Both kids are great and certainly have a European air to them with their perfect Aryan looks, which adds another layer to the film’s weird atmosphere. The young actors are unaffected, committing entirely but never overplaying the danger because, well, their characters are kids and they don’t get it until it’s too late. Early in Antrum, we’re advised that horrifying and demonic images were inter-spliced over the footage and the flick has serious re-watch potential for those looking to spot all 100-odd shots. Suffice to say, several are profoundly creepy. One, in particular, is held just a couple seconds too long and is genuinely bone-chilling as a result – you’ll be begging to look away. See Also: Marla Makes IUDs Even Scarier Than They Actually Are [Review] Antrum is pure folk horror eeriness, right down to the brilliantly off kilter score, and has the potential to be a major cult hit, given its ingenious hook. Evocative, provocative, and deliciously, devilishly dark, this is one of the most impressive horror movies of recent years, made even more astonishing by the fact it’s courtesy of a couple newcomers in the form of writer-directors David Amito and Michael Laicini (I’m already impatient for whatever they do next). A must see, provided you’re brave enough to make it past that all-important warning notice. WICKED RATING: 9/10 Director(s): David Amito, Michael Laicini Writer(s): David Amito, Michael Laicini Stars: Rowan Smyth, Nicole Topkins Release date: November 5, 2019 (Digital and DVD) Studio/Production Company: Else Films Language: English Run Time: 95 minutes Follow us on social media: Twitter, Facebook, Instagram, and Youtube

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Friday, 22 November 2019

New on Netflix: November 22nd, 2019


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Wicked Horror is the author of New on Netflix: November 22nd, 2019. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to New on Netflix, a feature here at Wicked Horror in which we provide the latest updates on what’s coming to the streaming service for the week. In recent times, Netflix’s shift in content has been interesting. While many fan-favorite movies and TV shows have been Netflix staples for the better part of a decade, they’ve been taken off the service with more frequency. Some of them return, some of them don’t, and while these are all simply the result of licensing deals that were already in place before these properties even hit the service, they do shed some light on the content provider’s new focus. Netflix is continuing to shift gears away from movies and TV shows owned by other studios or companies and is producing their own content with staggering frequency. As we continue to provide updates on what’s been added to the service, it will always be interesting to note the balance between original and licensed content being added to the Netflix library. With that in mind, here are the latest Netflix additions for the week of November 22nd, 2019. Rosemary’s Baby One of the most iconic horror films of all time, the classic Rosemary’s Baby has now made it to Netflix. This is refreshing, as people have noted the lackluster assortment of classic films on the streaming service for years now. Hopefully, this will encourage more older films to find their way to Netflix in the future. In the meantime, you can at least stream this legendary custody battle of Woman v. Satan.

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Swimming in Darkness is a Chilling Esoteric Thriller [Graphic Novel Review]


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Wicked Horror is the author of Swimming in Darkness is a Chilling Esoteric Thriller [Graphic Novel Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Swimming in Darkness is the debut work of Lucas Harari, a student of decorative arts with a special interest in printed works. Before Swimming in Darkness, Harari reportedly self-published fanzines and also worked as an illustrator for other projects. This book was translated with the help of David Homel, a writer and journalist, who has published seven other novels, as Swimming in Darkness was first published in French. Also see: Bloodline Keeps the Creepy in the Family [Review] Swimming in Darkness revolves around Pierre, a former Ph.D. student of architecture, who left graduate school after suffering a nervous breakdown and destroying all his work. Pierre finds himself as a bartender, isolated, and struggling with the ramifications of throwing that many years of school away. As someone who has experienced the perils of graduate school, this section spoke to me, especially as the pressures of graduate school and Ph.D. level work are hard to articulate. It is stated that the work Pierre destroyed revolved around his thesis or his final project in order to graduate. So, coming that close to your degree, but then knowing you were the person who sabotaged your career must be devastating. After a chance encounter with a former mentor, Pierre gets inspired to visit the infamous Vals, a building that houses springs in the Swiss Alps where people visit from all over. Pierre is determined to unlock the secrets behind Vals, but ends up running into another obsessed academic who is also fixated on Vals. What is supposed to be Pierre’s redemption arc quickly turns ugly, but he has already come this far in discovering the secret of the mountain where Vals is located. Reading Swimming in Darkness is an experience that was chilling in a way that reminded me of House of Leaves,  which I will eventually review, but damnit that book is difficult to get through. Anyways, Swimming in Darkness reads like a thriller mystery and was exhilarating as you are trying to also figure out the secret of Vals and why Pierre and creepy unknown man are obsessed with it. Further, the graphic novel draws you in by the stunning artwork, which provide a certain aesthetic that will leave you unnerved, even after you are finished. Overall, for any collectors of mystery, thriller type graphic novels or just an avid fan, I highly recommend Swimming in Darkness. Catch Swimming in Darkness from Arsenal Pulp Press now. Follow us on social media! Twitter, Facebook, Instagram, and Youtube.

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Wednesday, 20 November 2019

Brinna Kelly Talks The Fare [Interview]


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Wicked Horror is the author of Brinna Kelly Talks The Fare [Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Brinna Kelly is the screenwriter and one of the stars of The Fare. Click here to check out our gushing review of the movie. Kelly kindly provided the following bio which describes her humble beginnings that have led her to the career she has now cultivated. Brinna Kelly began her career in front of the camera at the age of 10 in Asia. She performed in several television dramas under prominent directors including award-winning filmmaker Zhou Sun. She relocated to Los Angeles and graduated from UCLA’s prestigious school of Theatre, Film, and Television where she studied under Tony award-winning director Mel Shapiro. In 2016, her feature writing and producing debut, The Midnight Man (starring William Forsythe, Vinnie Jones, and Brent Spiner) was released worldwide to positive reviews. In 2017, she produced the short film The Binding which screened at festivals across the country. Brinna worked as a screenwriter for Academy Award-nominated director Simon Sandquist. She wrote and produced more than 200 episodes of the highly successful web series Marvel/DC, which garnered over 79 million views. Also see: Seo-joon Park Exorcises Demons with His Fists in The Divine Fury [Blu-ray Review] Wicked Horror chatted with Kelly about the film, what’s next for her, and something she wished everyone knew about the business of movie-making, among many other things. Wicked Horror: First of all, your writing and acting is stunning; The Fare really took me on a wild ride. Without spoilers, what made you go the sci-fi/fantasy route for your film? Brinna Kelly: Thank you so much! I am so glad to hear that you enjoyed the film! Some of my favorite films are what they call “genre-mashes.” Basically, a film that simultaneously exists in several different genres. I’ve always gravitated toward such storytelling myself as a writer, and this script was truly an opportunity for me to be creative and explore those genre crossover possibilities. WH: Why do you feel that it was important to frame a traditional story within a modern framework with a sci-fi feel? Brinna Kelly: That’s a very interesting question… because it speaks to the heart of what all writers and storytellers do. You’ve heard of the saying “there are really only 5 different stories in the world, they keep getting re-told over and over, and every story is really just a re-telling of the original five.” Basically that, no matter how it’s dressed up, the fundamentals of all storytelling are as old as time. It speaks to the fact that storytelling draws on our collectively shared humanity and history to create emotions that are familiar, and it is up to each individual writer and storyteller to spin those very universal feelings into something fresh and new. In The Fare, I set out to take the very familiar tropes of human connection, love lost, and love found, and placed them in the setting of a sci-fi mystery. Hopefully, this offers the audience a viewing experience where the mysterious and sci-fi tinted plot is thrilling and new, but the emotions behind it all are relatable and human. WH: So what’s next for you? Hopefully more films like The Fare! Brinna Kelly: Hopefully is exactly the right word!  But that completely depends on how much people like, and how many people see, The Fare. That’s our reality as indie filmmakers. We’ve done as much as we can with The Fare and the work is going to have to speak for itself and for us now. Hopefully this film can find and connect with an audience and lead people to want to see something more from me. Next up, I have written a horror-thriller with elements of fantasy and dark humor that I think audiences would really enjoy. It’s a wicked, fun ride and I can’t wait to make it! With some good fortune, hopefully The Fare can help create opportunities that will allow me and my partners to pursue that film. But that’s really up to the audience now and our hope is that The Fare will find them. WH: What is something you wished everyone knew about writing a movie? Or acting in one? Brinna Kelly: Well… I suppose I would want everyone to know about the amount of hard work, heart and soul, sweat and tears, and genuine love our entire cast and crew put into this film. As for myself, I would like the audience to know that my goal as a filmmaker is to entertain them. Truly, every creative choice I make, both on screen and off, is not for myself but for the audience. As a storyteller, I want to put my audience first and truly craft something that is entertaining for them! I hope we have succeeded in that endeavor with The Fare. Catch The Fare on Blu-ray and VOD NOW _________________________________________________________ Follow us on social media: Twitter, Facebook, Instagram, and Youtube. 

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Tuesday, 19 November 2019

Red Letter Day is an Endearingly Scrappy Little Exercise in Fear Thy Neighbor-Based Terror [Review]


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Wicked Horror is the author of Red Letter Day is an Endearingly Scrappy Little Exercise in Fear Thy Neighbor-Based Terror [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

With the (somewhat overblown) furor surrounding the non-release of trigger-happy horror movie The Hunt, it’s somewhat impressive that Red Letter Day is being seen at all. A kill-your-neighbor tale set in a reality not unlike our own, the feature debut from Canadian filmmaker Cameron Macgowan  tackles societal divisions, racial tensions, and online oversharing all in the space of a zippy 75 minutes. That the thing is so short means there isn’t a moment to waste. As such, Red Letter Day hits the ground running, quite literally speaking, as a wild-eyed, barefooted man legs it around his leafy suburban neighborhood plucking red envelopes from bulging mailboxes. Arriving at one particular door, he’s greeted at gunpoint and soon perishes in impressively gory fashion. After this intriguing introduction, the story stalls somewhat. See Also: Marla Makes IUDs Even Scarier Than They Actually Are [Review] Our heroes are the Edwards family, recently-divorced mother Melanie (Dawn Van de Schoot), sulky alt kid Madison (Hailey Foss), and mouthy son Timothy (Kaeleb Zain Gartner). New recruits to the weirdly perfect community, they’re outcasts of sorts (even though there seem to be plenty of heavily tattooed folks living just around the corner) but Mom has made friends and Daughter has a (dodgy, older) boyfriend. Somehow taking a bit too long to set everything up once the film actually introduces them, the Edwards receive their titular red letters, instructing each to murder a neighbor before he or she kills them first. Turns out, everybody has been matched up by a shadowy organization intent on capitalizing on the divisions that already exist to kick-start a revolution of sorts. So, it’s The Purge, but with clearer instructions and worse masks (the messy, papier mâché sort you made with a balloon as a kid). Red Letter Day is a funny little film; not humorous, necessarily, though Macgowan’s baggy script does include a couple decent lines (“Do we need to have another discussion about consent?” is the clear winner), but its scrappyness is endearing to a certain extent. The older performers are considerably better, but the kids, both newcomers, do a solid job even if you can see the strain as they try their hardest in the film’s tougher moments. The dynamic between the small Edwards family is finely drawn, whether it’s Madison (who, it must be noted, opens bananas very weirdly) being teased by her brother the same way many of our brothers would’ve teased us back in the day, or she and her mother battling it out in a cutesy video-game (a nice twist on a familiar trope). Their rapport never feels forced, powering the story through its more dubious revelations. Madison’s boyfriend, who has a nerdy basement bedroom decked out with the most drool-worthy horror memorabilia that simply must belong either to the writer-director himself or a friend because it’s that impressive, is a poor man’s Jeremy Gardner but, refreshingly, his motivations remain vague until the film’s final act. Likewise, although the ruse itself is revealed relatively quickly, how deep it goes remains intriguingly unclear. Much of Red Letter Day takes place in the brightness of the early morning, a brave choice that pays dividends once the red stuff starts flowing. The practical FX are spot on, frequently stomach-churning in their intensity, often papering over the cracks in the narrative. Elsewhere, online reactions to the escalating carnage are brilliantly done and almost too true to life. A joke made at the expense of groan-worthy commercials for seemingly ideal modern communities is equally sharp. It’s a shame, then, that Jono Grant’s score is so bizarrely intrusive, almost as though Macgowan didn’t trust his own premise to sell itself on its own merits. There are no quiet moments in Red Letter Day, and Grant’s weirdly jaunty musical choices rob the film of any tension whatsoever. The score is so relentless, in fact, that it would make more sense if the music were coming out of character’s ever-present smartphones. Related: 47 Meters Down: Uncaged is Among the Worst Horror Films of 2019 [Blu-ray Review] Still, the defining characteristic of Macgowan’s movie is scrappy and, for that reason, it’s difficult to completely hate it. The familial dynamic, which sells essentially the whole bloody thing, is so strong that many of the story’s obvious faults can be forgiven just by virtue of the fact we enjoy watching these people fight for their lives. Red Letter Day certainly isn’t a travesty, but the short run-time definitely works in its favor in more ways than one. WICKED RATING: 5/10 Director(s): Cameron Macgowan Writer(s): Cameron Macgowan Stars: Dawn Van de Schoot, Hailey Foss, Kaeleb Zain Gartner, Roger Le Blanc Release date: November 1, 2019 (limited), November 5, 2019 (Blu-ray and VOD) Studio/Production Company: Awkward Silencio Language: English Run Time: 75 minutes Follow us on social media: Twitter, Facebook, Instagram, and Youtube

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Monday, 18 November 2019

The Fare is a Captivating Thriller With a Delightful Twist [Review]


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Wicked Horror is the author of The Fare is a Captivating Thriller With a Delightful Twist [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The Fare follows Harris (Gino Anthony Pesi) and Penny (Brinna Kelly) who appear to be stuck in a time loop. They endlessly play through the same scenario of Harris, a lonely cab driver, picking up Penny, a woman going on a random ride to the same location every time. In one iteration, Harris remembers that he has relived the ride and finally connects with Penny, who appears to recall each ride they have embarked on. Together, they work to try and figure out what the hell is happening to them and break the cycle. Also see: Scary Stories to Tell in the Dark [Blu-ray Review] The Fare is a fantastic thriller that caught my completely off guard. What starts as an interesting plot, evolves into an intense story that leaves a lasting impression. I know my description is vague, but I have to keep it that way in order to protect the mystery of The Fare. Usually, when watching a film you can catch what is happening right away. If you watch closely, there are clues that reveal the twist to you long before it comes, but The Fare did such an excellent job that I was not sure until the moment the twist revealed itself. On top of compelling storytelling, Harris and Penny have amazing chemistry. Throughout the film, you become attached to them and want to know why they are stuck in a time loop. Every time there is a reset, it comes at a cost to both of them and eventually to the viewer as well. Over time, Harris and Penny develop a relationship that is completely believable. Their conversations, no matter how mundane, feel like they are two people you know and care about. Further, The Fare is beautifully shot in only a couple of locations but the cinematography is beautiful. The Fare’s excellent delivery of a story, the unexpected twist, and the attention to detail remind me why I enjoy watching films from smaller studios. Movies like The Fare and MOMO give me what I crave from movies released in the theater: a compelling story, likable characters, an original twist, and a satisfying ending. Sure, there are duds in the independent movie circuit. In fact, there is a whole subsection of films that are dedicated to being bad, but then you have films like The Fare that restore your faith. Also See: MOMO: The Missouri Monster is a Cryptid Delight With a Unique Format Overall, if you are looking for something different, thrilling, and original, The Fare is your choice. My only complaint is that I wish we got to see more of the world presented in The Fare, but is that really a complaint? You can check it out for yourself on Blu-ray November 19th. WICKED RATING:  9/10 Director(s): D.C. Hamilton Writer(s): Brinna Kelly Stars: Gino Anthony Pesi, Brinna Kelly, Jason Stuart Release: Available Nationwide on Blu-ray and VOD November 19th. Studio/ Production Co: 501 Pictures, Public Displays of Affection, Grady Film Language: English Length: 82 min Sub-Genre: Mystery, Romance, Thriller Follow us on our social media! Twitter, Facebook, Instagram, or Youtube.

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Seo-joon Park Exorcises Demons with His Fists in The Divine Fury [Blu-ray Review]


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Wicked Horror is the author of Seo-joon Park Exorcises Demons with His Fists in The Divine Fury [Blu-ray Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The Exorcist is a horror classic, inspiring countless possession movies. For forty-six years, none of those toothless flicks has been brave enough to ask the question viewers have been asking all along: why didn’t Father Karras punch Pazuzu straight in the mouth? He was a boxer, wasn’t he? Director Joo-hwan Kim is brave enough to answer that question in The Divine Fury.  RELATED: The Exorcist: Ten Things You Probably Didn’t Know The film is about Yong-Hoo Park (Seo-joon Park, star of the amazing Parasite!!!), an undefeated mixed-martial arts welterweight champion nicknamed “The Grim Reaper.” The only thing he’s ever lost was his father at a young age. He pegged a priest in the face with a cross at the funeral. When he sees his opponent has a tattoo of Jesus on his back during the first fight in the film, a voice in Yong-Hoo’s head says, “Get revenge for Dad.” On his flight back to Korea, Yong-Hoo dreams of burning cross in his right hand and wakes with stigmata on his right hand. He exhausts medical explanations before turning to the Church.  Father Ahn (Sung-Ki Ahn) is an experienced exorcist, sent from the Vatican to Seoul to hunt for the Dark Bishop. He’s performing an exorcism in a run-down church when the possessed man breaks loose. Father Ahn’s partner turns tail. The possessed starts to beat Father Ahn when undefeated mixed-martial arts welterweight champion Yong-Hoo Park walks in and beats the everloving s*** out of the possessed. When Park grabs the possessed’s head with his right hand, the head bursts into a white, holy flame. His stigmata lights demons on fire. Can I get a hell yeah?  The Divine Fury is absolutely ridiculous, over-the-top in every way possible. It’s a mix of exorcism horror, mixed-martial arts, and surprisingly well-handled drama. Park is still mourning the loss of his father a decade earlier. He and Father Ahn develop a surrogate father-son relationship while debating their faith or lack thereof. Father Ahn does get preachy at times (“There’s a reason behind every sorrow and torment”), but it never gets to the point of being obnoxious because Park doesn’t fold. The film focuses on a developing friendship rather than an atheist being converted, which is a nice change for the possession genre. More than anything else, it’s a sweet movie between the fights.  Part of what helps the genres mix so well is the high-production quality. Every set is gorgeous. The special effects—including a flaming fist, an alligator monster, and a tower of arms in addition to the regular exorcism shtick—are all excellent. The fight choreography is up to that same, high level. Everything had to be right for a premise as absurd as The Divine Fury’s to work, and it delivered.  Joo-hwan Kim also makes a number of quality horror homages. There are call backs to The Birds, Argento’s Suspiria, and The Exorcist (obviously). The references work, because they aren’t the super obvious homages like naming the Texan with a chainsaw Tobe. Instead, Kim recycles great moments, because nothing good in The Texas Chainsaw Massacre had to do with the directors name. The meat hook still holds up to this day, though. To quote Picasso, “Good artists copy. Great artists steal.”  Despite all the references to horror’s history, the meld of genres makes The Divine Fury feel new. The exorcist in this film didn’t used to be a mixed-martial artist. He is one now. And his fist lights on fire. Don’t walk. Run to see this movie.  Wicked Rating – 9/10 Director: Joo-Hwan Kim Writer: Joo-Hwan Kim Stars: See-joon Park, Sung-Ki Ahn, Do-Hwan Woo Release Date: November 19, 2019 (Blu-ray, DVD, and Digital) Studio/Production Company: Lotte Entertainment Language: Korean Run-Time: 129 minutes Sub-genre: Possession, Martial Arts Follow us on social media: Twitter | Facebook | Instagram | Youtube

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Friday, 15 November 2019

New on Netflix: November 14th, 2019


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Wicked Horror is the author of New on Netflix: November 14th, 2019. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to New on Netflix, a feature here at Wicked Horror in which we provide the latest updates on what’s coming to the streaming service for the week. In recent times, Netflix’s shift in content has been interesting. While many fan-favorite movies and TV shows have been Netflix staples for the better part of a decade, they’ve been taken off the service with more frequency. Some of them return, some of them don’t, and while these are all simply the result of licensing deals that were already in place before these properties even hit the service, they do shed some light on the content provider’s new focus. Netflix is continuing to shift gears away from movies and TV shows owned by other studios or companies and is producing their own content with staggering frequency. As we continue to provide updates on what’s been added to the service, it will always be interesting to note the balance between original and licensed content being added to the Netflix library. With that in mind, here are the latest Netflix additions for the week of November 14th, 2019. Zombieland  With its surprisingly good sequel still in theaters, Zombieland has made a timely return to Netflix. It’s fun to go back and revisit this zom-com from a decade ago, not only to see how many of the jokes still land, but to think about just how much everyone involved has gone on to do since. There’s really no better time to revisit the original.

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PG-13 Black Christmas is a reminder that Hollywood Horror is a Commodity, Not an Art


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Wicked Horror is the author of PG-13 Black Christmas is a reminder that Hollywood Horror is a Commodity, Not an Art. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

All of this brouhaha over Black Christmas’ PG-13 rating reminds me — a lot of hardcore horror fans are a bit too full of themselves. You know the fans I’m talking about. The ones who have convinced themselves that their favorite genre movies aren’t just great genre movies, but bona fide works of art with profound commentary on the human condition, that are chock full of — sigh — culturally relevant commentary. I hate to break it to you, kids, but not even the people who make the movies you vaunt and celebrate see their own works that way. Deep down, horror movies have one purpose and one social utility only — to make whomever produces them, markets them, and distributes them a whole lot of money. Come on guys, get real. Do you honestly think we live in a world with eight Howling movies, ten Hellraiser film and sixteen Witchcraft movies because they are testaments to the times a’la the works of Bergman and Solzhenitsyn? You’d think the fact that we’re even on the second reboot of Black Christmas would be a dead giveaway as to just how highly esteemed human creativity is when it comes to the horror movie industry, but nope — we’ve still got a buncha’ dweebs and nerds on Twitter pitching a fit because the suits at Universal decided to recut the movie for a PG-13 rating.  Now, I’m a primary source kinda’ guy, so I’m just gonna’ let screenwriter April Wolfe describe the situation herself. “We wrote it with an R in mind,” she stated in a tweet. “When they did the test screenings, [it] was clear that this movie needed to be available to a younger female audience because the subject matter is timely. Also, I want to indoctrinate girls into horror. Doesn’t make it any less vicious!” Now, you can keep reading the tweet tree at your own peril — but be forewarned, it doesn’t take long before Wolfe starts saying stuff like “American slashers are not actually great for female characters.”  So what we’ve ended up with is, seemingly, two camps divided on the subject of Black Christmas ’19. On one hand, you’ve got guys sayin’ Blumhouse are a buncha’ chickens for going softer and safer to beat the Christmastime rush, and on the other hand you’ve got Wolfe defenders saying you don’t need to have a hard R to make a movie scary and the pro-feminist message of the movie is so important that it needs to be seen by as many people as possible just out of principle.  Also See: Here is Everything Wrong With Christmas Evil Translation: Universal saw the low ticket sales for Doctor Sleep and the last Terminator movie, realized a movie about coeds getting mass murdered 12 days before Christmas might be a hard sale to the public and said “alright, let’s cut what we’ve got to cut to hopefully get the middle schooler matinee audience in there, and just hope we can break even on the unrated DVD sales.”  In other words, it’s the same kinda’ business move any movie company with a mind for profits would’ve made, and the exact kind of move they’ve been making with horror films for decades now.  Big Hollywood studios love horror movies, but they hate them at the same time. They love them because they’re almost always automatic revenue generators — pending you don’t do something really stupid, like, say, release a murder movie the week before Christmas. Movies like Escape Room, Scary Stories to Tell in the Dark, The Curse of La Llorona and Ma were fairly inexpensive to make, and they all wound up making $40 million-plus in U.S. theaters alone. Indeed, a lot of times, such small-scale genre movies are the ONLY kinds of movies big-time studios make that are profitable.  Also See: Ten Stocking Stuffers for the Gore-Hound in Your Life You see, if you’re a big-time movie studio, you don’t need big stars to market and make a lot of moolah off a horror picture. There’s never been an A-list celebrity in any of the Friday the 13th movies, yet they’ve still grossed more than half a billion dollars in revenue — and no, Kevin Bacon doesn’t count, then and especially not now.  But that’s also why big-time studios hate horror movies at the same time. Oh, they’re good for a quick buck and a stopgap whenever the latest and greatest high-concept star-vehicle craps out at the box office quicker than you can say Mortal Engines, but the shameless commodification of the genre just leaves ‘em with a bad taste in their mouths. Remember, these are massive, multi-billion dollar conglomerates who like to pride themselves on being the great tastemakers of culture — and when their financial bread and butter is Annabelle Comes Home and Pet Sematary, naturally they’re going to be a bit embarrassed.  Let’s face it, “hardcore” horror has rarely been lucrative and it probably never will be. If you take a gander at the list of the highest grossing R-rated movies of all-time, you’ve got maybe five movies that could safely be pigeon-holed as horror. And when you scoot on over to the Wikipedia page for highest grossing horror movies, you might be shocked to learn that nearly 75 percent of the top 50 are PG-13 or PG.  Also See: Once Upon a Time at Christmas is Worse than a Lump of Cole in Your Stocking In that, Black Christmas: The Remake of The Remake (But Now With 100 Percent More Identity Politicking: Electric Boogaloo) is hardly an anomaly in the vast pantheon of Hollywood horror. You can accuse Universal Pictures of wussing out, but at the end of the day, it’s their pocket books that are on the line, not yours.  And if cutting out a couple of seconds of gore and impalements means the difference in tens of millions of dollars in dead zone box office income, can you really fault them for playing it safe here? Follow us on social media: Twitter | Facebook | Instagram | Youtube

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Actor Michael Smiley Talks Come to Daddy [Frightfest 2019 Interview]


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Wicked Horror is the author of Actor Michael Smiley Talks Come to Daddy [Frightfest 2019 Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Michael Smiley is one of our greatest living actors. And by “our,” I do mean Irish people since he’s from the North and therefore belongs to us. Smiley isn’t really a horror guy, but he made an impression in The Hallow as the cop who ominously tells a terrified couple, “This isn’t London; things go bump in the night here.” No matter the role, Smiley infects it with his own irascible charm. He’s grumpy, sure, but he’s a lovable grump and always more than a little dodgy. Come to Daddy, from Kiwi filmmaker and super-producer Ant Timpson, is a very different role for Smiley. As slimy crim Jethro, the beloved Northern Irish actor dons a crimped wig and leather trench-coat, strutting about the place like he’s on bleedin’ Drag Race. He has a wild time with the part, whether it’s intimidating poor Elijah Wood or chastising a hooker for neglecting to wear deodorant. Every time Smiley is onscreen, it’s pure magic. Related: Come to Daddy [Frightfest 2019 Review] Timpson actually knew the great man as a comedian first and foremost, having caught him live during a tour of New Zealand back in the day. Knowing that information makes Smiley’s performance in Come to Daddy even wilder. Timpson gets him to tap into another side of his repertoire that makes moments like when he’s stabbed in the head hilariously bizarre rather than outright scary. It’s the perfect role for him, and you’d never think of Smiley for it. The Frightfest synopsis for the flick emphasizes why it was chosen to open the festival this year: An urban hipster faces major daddy issues in a coastal Oregon town in a deliciously edgy stunner. 30-something Norval (a career best performance by Elijah Wood) receives a surprise invitation to visit his estranged father’s remote cliff house. Nervous and desperate to impress his uncaring dad, Norval stretches the truth about his life until finally his father’s growing animosity reaches a dark fever pitch. From here on, all genre-blending bets are off as this downright hilarious, inventively gross, shocking-to-the-extreme adventure with plenty of twists, turns and lots of creative weaponry moves smartly towards its most uncompromising and unexpected finale. Come to Daddy is the directorial debut of Timpson, a super-producer responsible for the likes of The Greasy Strangler, Turbo Kid, and Deathgasm, among many others. Timpson co-wrote the script with Toby Harvard, who also co-wrote Strangler. Elijah Wood stars alongside Smiley, Stephen McHattie, and Martin Donovan. See Also: Director Ant Timpson Talks Come to Daddy [Frightfest 2019 Interview] Wicked Horror tussled with the incorrigible, one and only, Michael f*****g Smiley on the red carpet at Frightfest 2019. We mostly discussed Derry Girls, after he gave me the finger. Interview conducted by: Joey Keogh Camera: Richard Waters Editing: Richard Waters

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Thursday, 14 November 2019

Director Ant Timpson Talks Come to Daddy [Frightfest 2019 Interview]


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Wicked Horror is the author of Director Ant Timpson Talks Come to Daddy [Frightfest 2019 Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Come to Daddy marks the highly-anticipated directorial debut of one Ant Timpson, the Kiwi super-producer responsible for some of our favorite horror movies, from The Greasy Strangler to Turbo Kid and Deathgasm. To say there’s a lot of pressure for Timpson to deliver would be a massive understatement but thankfully Come to Daddy is as wonderfully weird as everything he’s put his stamp on thus far. Gifting Elijah Wood one of the slimy weirdo roles he should really get to play more often, the flick sees his L.A. hipster, Norval, reuniting with his estranged father in an idyllic, yet frighteningly isolated, seaside home. Dripping with dread and unease, the film seems to be heading in one very specific direction before taking a sharp left and becoming something entirely different. Also, the incomparable Michael Smiley shows up as a bewigged crim named Jethro. Related: Come to Daddy [Frightfest 2019 Review] Come to Daddy is anchored by Wood’s solidly terrified performance as Norval, a man who probably should’ve given up his dreams of being a DJ and having a mustache long ago. It’s a well-considered study of entitlement, arrested development, and strained familial bonds that’s loaded with twists, turns, and surprisingly dark laughs. Come to Daddy is a major calling card for Timpson as a filmmaker in his own right. The Frightfest synopsis for the flick emphasizes why it was chosen to open the festival this year: An urban hipster faces major daddy issues in a coastal Oregon town in a deliciously edgy stunner. 30-something Norval (a career best performance by Elijah Wood) receives a surprise invitation to visit his estranged father’s remote cliff house. Nervous and desperate to impress his uncaring dad, Norval stretches the truth about his life until finally his father’s growing animosity reaches a dark fever pitch. From here on, all genre-blending bets are off as this downright hilarious, inventively gross, shocking-to-the-extreme adventure with plenty of twists, turns and lots of creative weaponry moves smartly towards its most uncompromising and unexpected finale. Come to Daddy is the directorial debut of Timpson, who co-wrote the script with Toby Harvard, who also co-wrote Strangler. Wood stars alongside Smiley, Stephen McHattie, and Martin Donovan. See Also: Actor Michael Smiley Talks Come to Daddy [Frightfest 2019 Interview] Wicked Horror caught up with Timpson at Frightfest 2019 to discuss his unsurprisingly brilliant directorial debut. Check it out below. Interview conducted by: Joey Keogh Camera: Richard Waters Editing: Richard Waters

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Wednesday, 13 November 2019

Director Joe Begos Talks Bliss [Frightfest 2019 Interview]


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Wicked Horror is the author of Director Joe Begos Talks Bliss [Frightfest 2019 Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

With his latest movie Bliss, indie director Joe Begos proves he’s one of the most exciting filmmakers working today. His previous movies, Almost Human and The Mind’s Eye, showed a flair for sticky gore and fun, sci-fi oddness. They were 80s throwbacks, but still suggested a unique viewpoint, heralding an interesting new voice in horror. Bliss is his masterpiece, likely the first of many (his fifth movie, VFW, which followed in quick succession, is already one of the must-sees of next year). It’s a wild, unhinged, and utterly hypnotic descent into madness. Far from a typical drug movie, it’s a meditation on the nature of creativity itself, which asks difficult questions about how far we all must go for our art. Related: Bliss [Frightfest 2019 Review] At the center of it is Dora Madison as Dezzy, a painter with a decent boyfriend (horror hero Jeremy Gardner) she treats badly and a penchant for procrastinating by hitting up her dealer (played by frequent Begos collaborator Graham Skipper) and losing hours to drugs rather than working. Madison’s is a vanity-free performance, the kind women aren’t usually allowed to give. Bliss is a horror movie that gives a female character free reign to act up and it’s glorious. The Frightfest synopsis pointed to Begos’s film’s innate uniqueness: FrightFest showcased his Almost Human and The Mind’s Eye and now Joe Begos, the quirkiest director on the independent horror scene, is back with a zeitgeisty, fresh and thrilling trip into terror. A brilliant painter facing the worst creative block of her life turns to anything she can to complete her masterpiece and recklessly indulges in a series of drug binges. As the narcotics fly out of control and spiral into a hallucinatory hell-scape of highs, lows, sex, and murder in the sleazy underbelly of Los Angeles, so does her newfound, and inexplicable, yet unquenchable craving for blood. Written and directed by Begos, Bliss stars Madison, Skipper, Gardner, and Dru Collins and Rhys Wakefield as a couple of the coolest vampires in town. At just 80 minutes, it doesn’t waste a second of screen time and was shot on glorious 16 mm to give it a gorgeously grainy texture. Seriously, seek it out. You won’t be disappointed. See Also: Actor Graham Skipper Talks Bliss [Frightfest 2019 Interview] Wicked Horror caught up with Begos on the red carpet at Frightfest 2019 to discuss the movie. He looked very warm in his hat. Check it out below. Interview conducted by: Joey Keogh Camera: Richard Waters Editing: Richard Waters

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Creepshow Finale Got Under My Skin And I Liked it


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Wicked Horror is the author of Creepshow Finale Got Under My Skin And I Liked it. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Well, here we are. It is with a heavy heart that I remind you the debut season of the anthology series Creepshow has come to an end. We’ve laughed, we’ve shuddered (get it?) and we’ve binged in awe at the horrific, yet beautifully scripted, stories brought to us by horror streaming service, Shudder. It’s a creepy show for creeps. What else could you possibly need? While we are sad to see Creepshow go so quickly, one can’t help but smile at the announcement that followed the finale. After a record smashing first season Shudder has renewed Creepshow for a second season! Also See: Viewers Beware: Shudder’s Creepshow is Returning for a Second Season!   In the season finale, we kick things off with a tale of pure allegorical paranoia in “Skincrawlers”, a lurid tale about finding your perfect image at a deadly cost. This is where we meet an overly eager Doctor who claims he has discovered the best and quickest solution to weight loss. It is painless, super quick, and doesn’t require any diet or exercise. Sounds great. The catch? It’s really f*cking weird. Even by Creepshow’s standards. This treatment recruits the help of rare, exotic, eel-like creatures that latches onto its target to suck away all the excess body fat. Since this is Creepshow, it doesn’t take long for things to go horribly wrong. Think Alien with a touch of Invasion of the Body Snatchers for good measure. Doesn’t sound too spooky but don’t you worry. Through this story’s compelling yet deeply flawed characters “Skincrawlers” tells a story that start off a bit slow as everything gets established and then wastes no time getting to the bloodshed in the story’s final few minutes, boasting impressive special effects. “Skincrawlers” is the clear favorite in this finale. It makes for a macabre and a flat out weird tale that often builds up that sweet, sweet comic tension but rarely lets you laugh aloud to relieve it; you’re either too grossed out or engrossed to let yourself do something so trivial. It’s a hell of a great watch that was the perfect starter for this episode. Now let’s tone things down and plunge into the depths of the slightly less enjoyable “By the Silver Water of Lake Champlain”. This literal creature feature follows Rose who believes she has found Champ, the legendary monster of Lake Champlain, but the real monster may still be out there. This appeared to be some kind of ghastly coming of age tale, however it plays out as a melancholic but sick folk story. Complete with the bad guy getting his just desserts. While that’s fine it’s just that: fine. Not the worst and certainly not the best, “By the Silver Water” may not have been the best choice to finish off the series. I can’t help but notice my issues with this story directly parallel the issues I had with episode four’s “Lydia Layne’s Better Half”. Like with “Lydia Layne’s Better Half”, my only reason for watching the episode all the way through was the hope that it would redeem itself at some point. It talked a big game only to fall flat on it’s face with it’s rushed plot and strict absence of suspense. It’s main (and only) highlight was the design of the lake monster. Other than that? It makes for background noise and not much else. If you haven’t already, be sure to binge the entire first season of Creepshow on the Shudder app! Wicked Rating: 7/10 Follow us on social media! Twitter | Facebook | Instagram | Youtube. 

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Tuesday, 12 November 2019

47 Meters Down: Uncaged is Among the Worst Horror Films of 2019 [Blu-ray Review]


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Wicked Horror is the author of 47 Meters Down: Uncaged is Among the Worst Horror Films of 2019 [Blu-ray Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

In 47 Meters Down: Uncaged, a group of young women make the fateful decision to go scuba diving in an underwater city. Little do they know, the ancient ruins are home to a clan of blood-thirsty sharks. Oops. Allow me to cut right to the chase: My single biggest issue with 47 Meters Down: Uncaged is the piss poor, melodramatic performances. The acting is impossible to get past. It’s distractingly bad. In fact, the perilous sequences end up coming across as comical instead of terrifying because there is no point at which any key player manages to be believable in their performance. Sophie Nélisse, Corinne Foxx, Brianne Tju, and Sistine Stallone play the lead roles and not one of them demonstrates a lick of acting ability. It’s as if director Johannes Roberts was banking on the pedigree of Stallone (daughter of Sylvester) and Foxx (daughter of Jamie) and the success of the first film to carry this dud of a sequel. And it truly is a dud in every way imaginable. Some of the blame for the film’s failure lies with the script (by original 47 Meters Down scribes Johannes Roberts and Ernest Riera). It is filled with clunky dialogue that had me asking myself, ‘Who talks like that?’ And the lack of conviction with which it is recited had me questioning if perhaps the actors felt the same way? The characters are so one-dimensional that I actually had a hard time telling them apart once they were in their diving gear. Their sole purpose is to serve as shark bait. But, the disappointing thing is that none of the onscreen deaths are all that remarkable. There’s very little bloodshed and the effects are not great. I marathoned the two films back to back in preparation for this review and they don’t even feel like they came from the same creator. The original (also directed by Johannes Roberts) was tense and exciting and full of twists and turns. The performances were mostly solid and the outcome unpredictable. 47 Meters Down: Uncaged is none of those things. This time around, Roberts relies far too heavily on bizarre slow motion sequences, clunky exposition, and unremarkable scares. Related: Read My Review of the Original Film Right Here! This installment should have been a direct-to-DVD sequel, rather than a wide theatrical release. It’s a shame to see films like this getting the royal treatment and superior efforts getting a (very) limited theatrical bow with a simultaneous VOD exhibition. The film’s only saving graces are the set design and cinematography. It was shot (in part) on location in The Dominican Republic. The one and only positive thing I can say is that the beauty of the locale, the underwater photography, and the set construction at least give the viewer something pretty to look at. As for special features on the home video release, there is a twelve minute making of featurette that explores the dynamic between the characters and the off screen friendship that blossomed between the cast members. There’s also a commentary with director Johannes Roberts if you’re interested in hearing about his (often questionable) decision making process. You can catch 47 Meters Down: Uncaged on DVD and Blu-ray now. But, if I were you, I wouldn’t. WICKED RATING: 2/10  Director(s): Johannes Roberts Writer(s): Johannes Roberts and Ernest Riera Stars: Sophie Nélisse, Corinne Foxx, Brianne Tju, and Sistine Stallone Release: November 12, 2019 (Home Video) Studio/ Production Co: Entertainment Studios Motion Pictures, LionsGate Budget: $12 Million (estimated) Language: English Length: 90-Minutes Sub-Genre: Killer Creatures Follow us on social media: Twitter | Facebook | Instagram | Youtube

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Joe Begos’ Bliss Takes Viewers on a Bender [Blu-ray Review]


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Wicked Horror is the author of Joe Begos’ Bliss Takes Viewers on a Bender [Blu-ray Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Anyone who’s ever created anything knows the feeling: a deadline is looming and the project is barely started. Worse, anytime you sit to work, everything blanks out. Writer-director Joe Begos’ third feature Bliss starts there. Dezzy (Dora Madison) needs to finish a painting in the next four days. All she’s got so far is a red and orange background with a white circle in the middle, a backdrop she has no idea how to fill.  Her boyfriend, Clive (Jeremy Gardner), comes in after she’s been working for an hour and sums it up nicely, “There might’ve been incremental progress.” The pressure is mounting. Dezzy’s month is two weeks late. Her agent has told her perfectly named art dealer Nikki St. Jean (Rachel Avery) that Dezzy isn’t going to be ready for the show. Understandably, Dezzy’s “anxiety is through the f***ing roof right now.”  She’s been clean for a while, but she decides that drugs are the only way she’s going to finish the painting on time. Her inspiration of choice is the titular bliss, a mix of cocaine and DMT. Dezzy passes out at her dealer’s house after a sample bump. When she wakes there’s a party outside her friend Courtney (Tru Collins) and Courtney’s boyfriend Ronnie (Rhys Wakefield) want to hang out. They have a threesome as Dezzy hallucinates, and she wakes with two puncture wounds on her neck.  RELATED: Bliss [Frightfest 2019 Review] The rest of the film teases the audience, making them question whether Dezzy is turning into a vampire or tripping balls. DMT is notorious for causing wild hallucinations, and there are certainly scenes where Dezzy’s perceiving things that aren’t there. She’s blacking out too. But it’s not clear which scenes are real, or what happens in the time she can’t remember. She’s also suffering withdrawal during the day, which turns out looks a lot like vampirism—sensitivity to light, odd cravings, splitting headaches.  Begos plays with lenses and colors so the images match Dezzy’s boggled headspace. Bliss blurs the screen when Dezzy is highest. There are enough strobing effects that the film has a warning at the beginning for anyone with photosensitive epilepsy. Many of the shots are bathed in red and blue lights. The exaggerated gore cakes onto Dezzy and those colors transform it, making it terrifyingly beautiful. It’s fitting that Bliss, a film about a painter, plays with colors so effectively.  The soundtrack works to capture the feeling of Dezzy’s bender as well. Diegetic punk and hardcore music clashes with the non-diegetic soundtrack. When she’s not listening to music, viewers hear an electric guitar playing blues licks over heavy synthesizers, which again, underscores Dezzy’s muddled mind.  With all that goes into creating that surreal, drug-addled atmosphere, Begos’s best creative decision is to keep bringing up the rent. Surrealist films set in the real world—Andrezej Zulwaski’s Possession for example—work best when there’s a mundane anchor. In that film, it’s Sam Neill’s and Isabelle Adjani’s divorce. In Bliss, it’s the reminders of the rent being due. Without that real world grounding, the film would just be a collection of disjointed images, which works in Eraserhead, but more often ends up a confusing mess.  Like Possession, Bliss makes an entry into the list of all-time dirtbag men in film. Clive is introduced as he insists that Dezzy drives him so he doesn’t have to take the subway. She’s already running late for an important meeting, but he insists she drive him anyway. He’s not quite up the level of Midsommar’s Christian, but he continues the streak of bad horror boyfriends.  RELATED: Ari Aster’s Midsommar is Next Level Horror [Blu-ray Review] Dora Madison is excellent in that scene with Clive, and others. She delivers her lines with an Aubrey Plaza-esque deadpan at first, which brings Dezzy’s personality to life on-screen. When it’s time for Dezzy to really start losing it, Madison is more than up to the task as well.  If there’s anything wrong with Bliss, it’s that it plays into the toxic idea that drugs and/or alcohol bolster creativity. There are infinitely more creative careers ended by drugs than sparked by them.  All in all though, Bliss is fascinating. Every choice Begos makes—from the colors, to the music, to the performances—brings more nuance to the psychological horror of trying to figure out whether the vampirism on screen is a hallucination or a transformation.  The Blu-ray doesn’t have much in the way of bonuses. There’s a minute and a half of deleted scenes, a teaser, and a trailer.  Wicked Rating – 7.5/10 Director: Joe BegosWriter: Joe BegosStars: Dora Madison, Tru Collins, Rhys Wakefield, Jeremy GardnerRelease Date: November 12, 2019 (Blu-ray/DVD) Studio/Production Company: Channel 83 Films, Language: EnglishRun-Time: 80 minutesSub-Genre: Psychological Horror  Follow us on social media: Twitter | Facebook | Instagram | Youtube

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Yesterday Was a Lie has a Great Starts, Bad Ending [Blu-ray Review]


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Wicked Horror is the author of Yesterday Was a Lie has a Great Starts, Bad Ending [Blu-ray Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Film noir had its boom in the 1940s and 1950s. It never really went away after that, echoing in hundreds of films made since. Writer-director James Kerwin’s first feature Yesterday Was a Lie draws heavily from the classic genre. Hoyle (Kipleigh Brown) is a noir archetype, a private investigator in a trench coat with a love of bourbon. The only thing separating her from the other detectives in the genre is her gender. Yesterday Was a Lie’s mystery is more existential than other noir films. For Hoyle, time isn’t moving in a linear fashion, and she’s trying to figure out why.  She’s searching for a notebook. She’s not sure what’s in it, but she thinks it’s going to help her figure out why time isn’t flowing as it should be.  Yesterday Was a Lie makes it clear early on that there won’t be an easy answer, explaining that “Things don’t always fit perfectly. Sometimes it’s the rough edges that make life interesting.” It proceeds to give clue after clue about what might be going on though, drawing from a variety of sources. Kerwin’s characters make repeated references to the poet T.S. Eliot. Like the film, Eliot’s work is notorious for being densely layered, filled with allusions. In Eliot’s poems, there are near constant references to Greek Mythology. In Yesterday Was a Lie, the references are to Eliot, Salvador Dalí, Richard Feynman, easy listening music, and Carl Jung.  Through the film, it feels like all of this heady stuff is building toward something bigger. Dalí’s Persistence of Memory shows a number of melting clocks, seeming to be a visual representation of what’s happening to Hoyle. Or maybe it has more to do with something she hears on a radio program in a cab, “Jung said the unconscious knows things… He called it ‘absolute knowledge’ and it can be tapped into in dreams.” Or perhaps what’s happening is, “The old illusion of God’s chess game. [Physicist Richard] Feynman called it that. We can watch the game, but we don’t know the rules yet.” Hoyle, in this case, would be the observer.  All of this would be insufferable if Yesterday Was a Lie didn’t have a healthy humor running through the film. Frequently, there’s wordplay. When Hoyle meets the singer (Chase Masterson), they have two misunderstandings. Hoyle says, “Nice set.” She means the singers performance, and the singer thinks Hoyle is referring to the singer’s chest. When the awkwardness resolves, the singer asks what Hoyle’s working on, referring to her drink but Hoyle goes off about her frustrations with her current case. It’s funny, and makes the bigger ideas easier to swallow.  RELATED: Blue Velvet Reveals It’s Still a Strange World [Blu-ray Review] Chase Masterson’s singing is another highlight. She’s got a beautiful voice, and gets to sing two or three easy listening songs, all of which comment on the bigger questions the film is asking. One of them has the title of the film in it.   Kerwin shoots in black and white, copping as much of the film noir aesthetic as he can. There are repeated shots of streets bright with white smoke. Everything women wear is low cut and tight, calling to genre’s femme fatales. Men wear suits and trench coats. The dialogue is clipped, all “ya”s instead of “you”s. Yesterday Was a Lie would be a lot of fun if the ending wasn’t such a let down. After an hour and twenty minutes of existential detective action, filling the viewers head with college-level references, and promises that the rough edges of these puzzle pieces won’t fit together, everything ties up nicely. It’s obnoxious. It’s saccharine. It takes every badass thing that Hoyle has done through the course of the film and flips it so it’s in the service of managing a male character’s feeling. Even without the strange sexism making a woman responsible for a man’s emotions, the ending is a massive disappointment because Kerwin has built the expectation that this is a film about ideas too big to have answers. A movie that questions the forces that govern the universe or lack thereof wrapping up neatly feels like a letd own because those questions don’t have neat answers.  The ten year anniversary Blu-ray is chock full of special features. There’s an excellent audio commentary with Kerwin, Brown, and Masterson. There are six featurettes—three with the actors discussing their characters, one with Kerwin talking about directing, and “Noir and the Heroine.”  Wicked Rating – 6/10  Director: James Kerwin Writer: James Kerwin Stars: Kipleigh Brown, Chase Masterson, John NewtonRelease Date: November 12, 2019 (Blu-ray/DVD)Studio/Production Company: Helicon Arts CooperativeLanguage: EnglishSub-Genre: Film Noir Follow us on social media: Twitter | Facebook | Instagram | Youtube

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Monday, 11 November 2019

Abner Pastoll Talks A Good Woman is Hard to Find [Frightfest 2019 Interview]


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Wicked Horror is the author of Abner Pastoll Talks A Good Woman is Hard to Find [Frightfest 2019 Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The latest film from Abner Pastoll, A Good Woman is Hard to Find, was an odd choice to close Frightfest 2019, the 20th anniversary of the biggest and best horror festival in the UK. For one thing, the Soska Sisters were debuting their Rabid reboot immediately beforehand. For another, it’s more of a crime thriller than an out-and-out horror movie. As it turned out, A Good Woman is Hard to Find was the perfect closer for this year’s festivities. A dark, grueling, and ultimately, sadly realistic tale of a woman on the edge who goes to extreme lengths to protect her children after unintentionally getting involved with a local crim, the film is refreshingly female-focused without feeling the need to pat itself on the back for it. Related: A Good Woman is Hard to Find [Frightfest 2019 Review] Pastoll’s direction is assured, his eye focused, while Sarah Bolger’s performance in the leading role is nothing short of extraordinary. Utterly vanity-free and completely fearless, it stakes a claim for the Irish actress as one of the most interesting performers working today. To Pastoll’s credit, he leans back, giving her room to shine throughout. The Frightfest synopsis makes it clear why this film was chosen to close the festival: A dynamic killer thriller with its finger firmly on the pulses of stark social commentary and shattering suspense, Road Games director Abner Pastoll crafts a dazzling, dark and daring journey through Northern Ireland’s criminal underbelly. Recently widowed mother of two Sarah (a tour de force Sarah Bolger) is desperate to know who murdered her husband in front of their young son, rendering him mute. Coerced into helping a low-life drug-dealer stash narcotics stolen from the local Mr. Big, she’s forced to go beyond humanity into taking drastic action to protect her children while learning the awful truth about her spouse. Abner Pastoll directed A Good Woman is Hard to Find from a script by Ronan Blaney. Bolger stars opposite Edward Hogg, Andrew Simpson, Caolan Byrne, and Packy Lee in the Belfast-set crime thriller. Wicked Horror nabbed the film-maker for a cheeky chat, mostly centered on why he continues to cast brilliant Irish people in his films (long may it continue). Interview conducted by: Joey Keogh Camera: Richard Waters Editing: Richard Waters

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Actor Ellen Adair Talks Trick [Interview]


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Wicked Horror is the author of Actor Ellen Adair Talks Trick [Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Ellen Adair has made a serious name for herself as an actress on television in the big-name likes of The Sinner, Billions, and Homeland. But Trick, the latest offering from horror heroes Patrick Lussier and Todd Farmer, marks her first foray into the wonderful world of horror. Adair plays the formidable Sheriff Jayne in the Halloween-set slasher and, as Wicked Horror found out, not only did she freeze her butt off during the shoot but she was genuinely scared too — in spite of playing the only character who keeps a cool head throughout. Related: Legendary Actor Tom Atkins Talks Trick [Interview] WICKED HORROR: I love your character, Sheriff Jayne. It’s so cool to see a female sheriff in a horror movie. How would you describe her?   ELLEN ADAIR: Well, the clue is in the name, Sheriff Jayne, she is the sheriff of the town where all the spooky things are taking place and she is tough and she’s smart, but I think that she also really cares about the town and she cares about Detective Denver and her deputies and I think that she… She certainly starts the film tough, but not hardened, and she grows a lot through the course of the film because she’s the sheriff of a small town and a friendly community, and this horrifying thing happens, so she calls in her mentor, which is Detective Denver, to help her out with this. But when it keeps happening in her town and in the area, it ends up really changing her life and changing her viewpoint on humanity [laughs]. WH: She goes on quite a journey over the course of the film, doesn’t she? ELLEN ADAIR: Yes, she definitely does. And it was a lot of fun to go on that journey and I also felt very supported in all of the film-making and storytelling about her. I think transformation is a strong word but it was a very fun story to tell. WH: Omar Epps, who plays Denver, is ostensibly the lead, but you have the more interesting character, because she changes so much over the course of the movie. She leaves him behind in a way, because he can’t move on, he’s still stuck in this time. ELLEN ADAIR: That’s very interesting of you to say. I don’t know if I ever felt like she leaves him behind necessarily – I’m trying to delicately talk about this without giving away any spoilers! – but I think that because he pretty early on has a certain view of what the situation is, and she has the more pragmatic view on it, and is a little bit of a naysayer. So, getting to really understand his point of view and getting to understand what actually is going on sort of gives her farther to travel over the course of the film as opposed to Denver, who’s more of a man on a mission, a man who people don’t necessarily believe in. He’s just trying to prove himself. I definitely felt like Jayne, whose first name is actually Lisa, so Lisa Jayne, had further to travel over the course of the film, which was just so fun to do. Even though she’s the sheriff of the town, there’s more room for her to develop. WH: How was it finding that sense of camaraderie with Omar Epps? ‘Cause you guys have a very natural rapport onscreen. ELLEN ADAIR: It’s so easy, honestly, it was effortless with Omar. He’s a great guy and what I really admire about him as an actor, working with him, was just how real he is and that made it so easy for me to just be in the moment with him and to argue with him. He was so fixed on his character’s point of view that it just effortlessly grew, you know me trying to draw him out, like “Dude, look at what’s around you.” I feel like at its best acting is easy, and it was always very easy with him. I always really felt that there was something very real going on with him that I had to seek out. Working with him was one of the many things that made the film a great time. WH: What about the shoot itself? It looked completely freezing, at least to me. ELLEN ADAIR: What are you basing it being cold on, was it the film itself? WH: Any shots of the river, and the area surrounding it, made it look really cold. Also you guys were in layers and big jackets constantly. That just gave it a chilly feel to me, but maybe it was because of the time of year it was set? ELLEN ADAIR: It was very cold, however, I run colder than any human being I have ever met. I run ridiculously cold, so I was freezing for a lot of the shoot. We were shooting in Newburgh, New York, which is a little bit upstate, and it was March, which is basically still winter even though everybody wants to pretend like it’s spring but it’s not. I think there’s even snow on the ground in certain scenes. Certainly, those scenes on the water, which were some pretty long days, running back to back, those were some of the times I’ve been coldest in my entire life. But then I also know that, when I get into a place where I’m really cold, I can’t remember anything else that’s previously existed. So I do remember a time when I was doing an overnight shoot for a pilot outdoors and it was November but we were supposed to be pretending it was May so we were dressed in appropriate attire. Anyway, with the proviso that I run colder than anyone else, I was very cold shooting this. I was wearing two sets of long underwear in probably every single scene we shot, and when we were outside I would also have warmers for my hands, sometimes attached to me, and when we went inside the costume people were like, “Oh, you don’t need the long underwear anymore” and I was like “No no, I do.” I’m gonna be warm and continue wearing two pairs of long underwear and also my shirt, my jacket, and my pants and be warm as opposed to outside when I’m wearing all of those things and I’m still cold. But seriously though, I run so cold that sometimes if I’m shooting inside, on a stage that’s well air-conditioned, I spend 70 percent of my meager acting power just pretending I’m not cold. It’s the cross I have to bear. WH: Well, I feel your pain, I run incredibly cold too. Maybe that’s why I felt cold watching this actually? ELLEN ADAIR: Thank you for your very intuitive empathy. I was just wondering if you’d maybe seen pictures of me inside wearing a scarf while shooting this or something [laughs]. See Also: Trick is a Festive Treat [Review] WH: Your background isn’t really horror. Why this particular project? Are you a horror fan yourself? ELLEN ADAIR: I’m very easily scared so, for that reason, I’ve always said I should do a horror movie because I would just be so genuinely scared. All somebody has to do is tell me a scary story and I’m horrified. So, the joke is that I play the least scared person in this movie probably, but part of it is, weird biographical fact about me, I grew up without a television so we would go to movies but because it was a rarer thing, I was, from a very early age, just incredibly scared by anything that was in a film. Because I was less sensitized to the moving pictures in the little box, I was just afraid of everything. But now that I’ve had a television for, like, ten years — which is only the length of time I have — I can deal with slightly scarier things than when I didn’t have one. I asked Patrick for some recommendations for films to watch to get in the mood for Trick, which is just something that I love to do when I’m working on something, and I was just unbelievably scared by a lot of them but I watched them and that’s when I realized, you know, I can do this. The thing that really terrifies me, though, is possession so I’ve always said I will not watch The Exorcist for less than $5,000, which is what I value my mental well-being at, I guess, I’ve put a price on it [laughs]. So the fact the films I was watching for this didn’t deal with that particular issue, and the fact Trick doesn’t either, made it slightly easier for me. Although, I’d be happy to do a possession movie because I would be genuinely terrified the whole time. So the acting would be really easy. But, to answer your question, I was attracted to what a strong and interesting person Sheriff Jayne is, and the script as well, the fact that – and I hope this isn’t a spoiler – there aren’t really any scream queens in the movie. Both myself and Kristina Reyes, who plays Cheryl in the movie, are both strong women in our own right, so I liked the sort of quiet politics of that, too. I always want to play strong female characters, all day long. WH: What are you working on at the moment, what’s coming up next for you? ELLEN ADAIR: I am going to be on season four of Bull, the CBS show, which is currently airing. I think the episode I’m in should be airing in a couple months, though I don’t know the exact date.   Catch Trick in Theaters, On Demand and Digital HD now

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Friday, 8 November 2019

New on Netflix: November 8th, 2019


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Wicked Horror is the author of New on Netflix: November 8th, 2019. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to New on Netflix, a feature here at Wicked Horror in which we provide the latest updates on what’s coming to the streaming service for the week. In recent times, Netflix’s shift in content has been interesting. While many fan-favorite movies and TV shows have been Netflix staples for the better part of a decade, they’ve been taken off the service with more frequency. Some of them return, some of them don’t, and while these are all simply the result of licensing deals that were already in place before these properties even hit the service, they do shed some light on the content provider’s new focus. Netflix is continuing to shift gears away from movies and TV shows owned by other studios or companies and is producing their own content with staggering frequency. As we continue to provide updates on what’s been added to the service, it will always be interesting to note the balance between original and licensed content being added to the Netflix library. With that in mind, here are the latest Netflix additions for the week of November 8th, 2019. The Texas Chain Saw Massacre  In what’s a bit of a surprising move for them, Netflix has added the iconic original Texas Chain Saw Massacre. It’s only a bit surprising considering that, for the most part, older films are kind of just on Netflix as a formality, with much more focus on original content and new releases. It couldn’t have come at a better time, though, because the manic family dinner of the third act makes Texas a perfect Thanksgiving movie.

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Director André Øvredal Talks Scary Stories to Tell in the Dark [Frightfest 2019 Interview]


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Wicked Horror is the author of Director André Øvredal Talks Scary Stories to Tell in the Dark [Frightfest 2019 Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Norwegian director André Øvredal made a serious name for himself with The Autopsy of Jane Doe; one of the coolest and most fascinating horror movies of modern years, it pitted a father-son duo of morticians against a seemingly malevolent corpse they’re in the midst of tearing open. A moody, atmospheric, and truly terrifying addition to the genre landscape, it was the most bizarre follow-up to his previous flick, the lively Trollhunter, imaginable. Likewise, his latest movie, Scary Stories to Tell in the Dark, an adaptation of the beloved children’s book series, is another left turn for a director clearly intent on surprising us at every opportunity. It might not be as bone-chilling as Jane Doe or as divertingly odd as Trollhunter, but Øvredal’s take on the material is assured, impressively freaky for a kids’ movie, and ultimately quite memorable. Related: Scary Stories to Tell in the Dark Offers Spine-Chilling Nostalgia [Review] In the lead up to the film’s release, much of the focus was on producer aand co-writer Guillermo Del Toro’s influence, understandably so, but Øvredal’s vision is clear throughout the movie and, if there’s any justice, he’ll get another go at it in the near future. Scary Stories isn’t necessarily the best release of the year, but it further marks Øvredal out as one to watch, and for that we should be grateful. The Frightfest synopsis leans heavily on this most intriguing of film-making duos: The hugely anticipated terror team-up of the century! Oscar-winning genre guru Guillermo del Toro and acclaimed Trollhunter director André Øvredal bring the iconic book series to the screen. America, 1968, and in the small town of Mill Valley, the shadow of the Bellows family has loomed large for generations. It was in their mansion on the edge of town that the tormented Sarah turned her tortured life into a series of scary stories, written in a book that has transcended time. Now those tales are becoming all too real for a group of teenagers who discover Sarah’s terrifying tome. Scary Stories to tell in the Dark is directed by André Øvredal from a script credited to Dan Hageman, Kevin Hageman, Guillermo del Toro, Marcus Dunstan and Patrick Melton that is adapted from Alvin Schwartz’s beloved book series. Zoe Margaret Colletti, Michael Garza, Gabriel Rush and Austin Abrams star. Wicked Horror caught up with Øvredal to chat scary stories, making movies for children, and the perils of PG-13. Interview conducted by: Joey KeoghCamera: Richard WatersEditing: Richard Waters Follow us on our social media! Twitter, Facebook, Instagram, and Youtube.

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